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Marjorie Curry Woods takes readers into the medieval classroom, where boys identified with Dido, where teachers turned an unfinished classical poem into a bildungsroman about young Achilles and where students not only studied but performed classical works. Woods opens the classroom door by examining teachers' notes and marginal commentary in manuscripts of the Aeneid and two short verse narratives: the Achilleid of Statius and the Ilias latina, a Latin epitome of Homer's Iliad. She focuses on interlinear glosses - individual words and short phrases written above lines of text that elucidate grammar, syntax, and vocabulary, but that also indicate how students engaged with the feelings and motivations of characters. Interlinear and marginal glosses, which were the foundation of the medieval classroom study of classical literature, reveal that in learning the Aeneid, boys studied and empathized with the feelings of female characters; that the unfinished Achilleid was restructured into a complete narrative showing young Achilles mirroring his mentors, including his mother Thetis; and that the Ilias latina offered boys a condensed version of the Iliad focusing on the deaths of young men. Manuscript evidence even indicates how specific passages could be performed. The result is a groundbreaking study that provides a surprising new picture of medieval education and writes a new chapter in the reception history of classical literature.

This book examines the ways in which recent U.S. Latina literature challenges popular definitions of nationhood and national identity. It explores a group of feminist texts that are representative of the U.S. Latina literary boom of the 1980s, 1990s, and 2000s, when an emerging group of writers gained prominence in mainstream and academic circles. Through close readings of select contemporary Mexican American, Puerto Rican, and Cuban American works, Maya Socolovsky argues that these narratives are \"remapping\" the United States so that it is fully integrated within a larger, hemispheric Americas.Looking at such concerns as nation, place, trauma, and storytelling, writers Denise Chavez, Sandra Cisneros, Esmeralda Santiago, Ana Castillo, Himilce Novas, and Judith Ortiz Cofer challenge popular views of Latino cultural \"unbelonging\" and make strong cases for the legitimate presence of Latinas/os within the United States. In this way, they also counter much of today's anti-immigration rhetoric.Imagining the U.S. as part of a broader \"Americas,\" these writings trouble imperialist notions of nationhood, in which political borders and a long history of intervention and colonization beyond those borders have come to shape and determine the dominant culture's writing and the defining of all Latinos as \"other\" to the nation.

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.

Helena María Viramontes's 1996 novel Under the Feet of Jesus centers on the lives of Hispanic migrant workers in California, and especially on the thirteen-year-old Latina protagonist, Estrella. This article builds on previous readings of the novel's Catholic themes and links them more explicitly to the text's feminist and environmental justice investments. As argued here, the novel radically reimagines Christ through the figure of Estrella and positions this young woman as a powerful beacon of hope. Displacing the usual focus on sacrifice in depictions of Christ, Estrella, by the end of the novel, instead becomes a messianic icon of righteous justice.

This essay explores the relationship(s) between English and Spanish in the novel Raining Backwards (1988) by Cuban American Roberto G. Fernández. While the many linked plots and characters suggest many protagonists, this study demonstrates how language itself takes on the role of protagonist. Through the author's use of calques and hispanisms, a seemingly English text uncovers the hidden Spanish of the novel. I argue that Fernández, therefore, creates a Spanglish text that, through the use of subversive English, provides a unique way of preserving the transcultural and linguistic memory of Cuban Miami.

This article aims to identify a lesser-known generation of female writers that has given a new direction to US Latina literature in the twenty-first century. Beyond the significance of the Latina boom that marked the 1980s and 1990s, the latest generation differs from their predecessors in important ways, amounting to a paradigm shift in US Latina literature that needs to be thoroughly explored. To carry out this task, I have selected three canonical Latina boom novels: Sandra Cisneros’s The House on Mango Street (1984), Julia Álvarez’s How the García Girls Lost Their Accents (1991) and Cristina García’s Dreaming in Cuban (1992). These texts will be contrasted with Angie Cruz’s Soledad (2001), Achy Obejas’s Days of Awe (2001) and Felicia Luna Lemus’s Trace Elements of Random Tea Parties (2004). My contention is that while the US Latina literary boom might have sought synthesis or the creation of a third space, associated with Gloria Anzaldúa’s consciousness of the borderlands, these twenty-first century female writers offer representations of nonnormative sexualities that take indeterminacy and ambiguity to a limit that defies all resolution. Este artículo pretende identificar una generación de autoras, aún poco conocidas, que ha promovido una nueva corriente dentro del campo de la literatura latina estadounidense del siglo XXI. Más allá de la relevancia del boom latino de la década de los ochenta y noventa, esta nueva generación difiere de sus precesoras en importantes aspectos, evidenciando así un cambio de paradigma que se examinará a lo largo de este artículo. Para ello, se analizarán tres de las novelas canónicas del boom: The House on Mango Street (1984) de Sandra Cisneros, How the García Girls Lost Their Accents (1991) de Julia Álvarez y Dreaming in Cuban (1992) de Cristina García. Estos textos se contrastarán con Soledad (2001) de Angie Cruz, Days of Awe (2001) de Achy Obejas y Trace Elements of Random Tea Parties (2004) de Felicia Luna Lemus. La tesis de la que parto es que mientras las autoras del boom crean una síntesis o un tercer espacio asociado a la conciencia de la frontera de Gloria Anzaldúa, la generación más reciente de escritoras ofrece representaciones de sexualidades no normativas que ahondan en la ambigüedad impidiendo toda resolución.

Brings attention to several contemporary writers that have received little or no critical attention, including Eduardo Halfón, Manuel Muñoz, Patricia Engel, and Amanda Calderón.Since the 1990s, there has been unparalleled growth in the literary output from an ever more diverse group of Latina/o writers. The extant criticism, however, has yet to catch up with the diversity of writers we label Latina/o and the range of themes about which they write. Little sustained scholarly attention has been paid, moreover, to the very category-Latina/o-under which we group this literature.Latina/o Literature Unbound, thus, begins with a fundamental question \"What does it mean to label a work of literature or an entire corpus of literatureLatina/o?\" From this question a host of others spin out: What does that grouping allow us to see, predispose us to see, and preclude us from seeing? If the grouping-which brings together a heterogeneous collection of people and groups under a seemingly homogeneous label-tells us something meaningful, is there a poetics we can develop that would facilitate our analysis of this literature? In answering these questions,Latina/o Literature Unboundseeks to unbind Latina/o literature from taken-for-granted critical assumptions about identity and theme. It argues that there may be more salubrious taxonomies thanLatina/ofor organizing and analyzing this literature. Following a neo-formalist interpretive model that privileges reading as a temporal, meaning-making event, the book argues that genre may be a more durable category for analyzing this literature. Finally,Latina/o Literature Unboundsuggests some ways in which we might want to proceed as we move forward with future studies of the writing we have come to identify asLatina/o.Rethinks Latinx literature from the standpoint of literary genre rather than racial or ethnic identity.Critically questions the prevailing monolithic markers of Latinx literature by interrogating their usefulness for thinking about such a diverse body of literary works.

This essay unpacks the Utopian impulse in Rosaura Sánchez and Beatrice Pita's novella Lunar Braceros 2125-2148 (2009). As speculative fiction that has strong, explicit critiques on labour and globalisation, Lunar Braceros crafts a future-historical and future-present world where racialised forms of labour exploitation are the norm. The novella offers the radical response of worker revolution that can only ever be a potential and desire. The novella does this by presenting an ambivalent labour politics that results in the dismantling of the family as a heteronormative unit and that depend on the figure of the lost radical mother. The intervention this essay makes into Latina/o studies and feminist studies is to rearticulate the figure of motherhood through a specific lens of radicalism that is both queer and proletarian. By thinking about Latina radicalism through the intersections of labour, gender and non-normative sexuality in the novella, we see that the lost mother figure disrupts capitalist patriarchy by offering radical potentiality.

Brings attention to several contemporary writers that have received little or no critical attention, including Eduardo Halfón, Manuel Muñoz, Patricia Engel, and Amanda Calderón.Since the 1990s, there has been unparalleled growth in the literary output from an ever more diverse group of Latina/o writers. The extant criticism, however, has yet to catch up with the diversity of writers we label Latina/o and the range of themes about which they write. Little sustained scholarly attention has been paid, moreover, to the very category-Latina/o-under which we group this literature.Latina/o Literature Unbound, thus, begins with a fundamental question \"What does it mean to label a work of literature or an entire corpus of literatureLatina/o?\" From this question a host of others spin out: What does that grouping allow us to see, predispose us to see, and preclude us from seeing? If the grouping-which brings together a heterogeneous collection of people and groups under a seemingly homogeneous label-tells us something meaningful, is there a poetics we can develop that would facilitate our analysis of this literature? In answering these questions,Latina/o Literature Unboundseeks to unbind Latina/o literature from taken-for-granted critical assumptions about identity and theme. It argues that there may be more salubrious taxonomies thanLatina/ofor organizing and analyzing this literature. Following a neo-formalist interpretive model that privileges reading as a temporal, meaning-making event, the book argues that genre may be a more durable category for analyzing this literature. Finally,Latina/o Literature Unboundsuggests some ways in which we might want to proceed as we move forward with future studies of the writing we have come to identify asLatina/o.Rethinks Latinx literature from the standpoint of literary genre rather than racial or ethnic identity.Critically questions the prevailing monolithic markers of Latinx literature by interrogating their usefulness for thinking about such a diverse body of literary works.

Para el presente trabajo rescatamos el poema neolatino Lyra Heroyca (Salamanca, Matías Gast, 1581), tan poco conocido como su autor, Francisco Núñez de Oria. En esta extensa epopeya, el humanista reescribe en latín el Orlando Furioso de Ludovico Ariosto en clave patriótica, ajustándose al esquema del hexámetro dactílico. Si bien esta es su fuente vernácula principal, nuestro propósito con este trabajo es demostrar que Núñez de Oria también bebe, para componer estos versos latinos, de la materia que le brinda el ciclo caballeresco hispano de Renaldos de Montalbán.