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Clorinda Matto de Turner was the first Peruvian novelist to command an international reputation and the first to dramatize the exploitation of indigenous Latin American people. She believed the task of the novel was to be the photograph that captures the vices and virtues of a people, censuring the former with the appropriate moral lesson and paying its homage of admiration to the latter. In this tragic tale, Clorinda Matto de Turner explores the relationship between the landed gentry and the indigenous peoples of the Andean mountain communities. While unfolding as a love story rife with secrets and dashed hopes, Torn from the Nest in fact reveals a deep and destructive class disparity, and criticizes the Catholic clergy for blatant corruption. When Lucia and Don Fernando Marin settle in the small hamlet of Killac, the young couple become advocates for the local Indians who are being exploited and oppressed by their priest and governor and by the gentry allied with these two. Considered meddling outsiders, the couple meet violent resistance from the village leaders, who orchestrate an assault on their house and pursue devious and unfair schemes to keep the Indians subjugated. As a romance blossoms between the a member of the gentry and the peasant girl that Lucia and Don Fernando have adopted, a dreadful secret prevents their marriage and brings to a climax the novel's exposure of degradation: they share the same father--a parish priest. Torn from the Nest was first published in Peru in 1889 amidst much enthusiasm and outrage. This fresh translation--the first since 1904--preserves one of Peru's most distinctive and compelling voices.

The Jewish presence in Latin America is a recent chapter in Jewish history that has produced a remarkable body of literature that gives voice to the fascinating experience of Jews in Latin American lands. This book explores the complexity of Jewish identity in Latin America through the fictional Jewish characters of five novels written by Jewish authors from the Southern Cone: Argentina, Brazil, Chile, Paraguay and Uruguay. It examines how trauma and memory have profound effects on shaping the identity of these Jewish characters who have to forge a new identity as they begin to interact with the Latin American societies of their newly adopted homes. The first three novels present stories narrated by the first generation of immigrants who arrived in Latin American lands escaping pogroms in Russia, and the increasing persecution and anti-Semitism in Europe, in the decades prior to World War II. The fourth novel analyses the identity conflicts experienced by a second generation Latin American born Jew who questions his Jewish, questions of assimilation and integration in to his society. The last novel closes this study with the existential crisis experienced by a perfectly assimilated non-religious Jew, who enquires about his Jewishness and compares himself to other Jews around him.

Science fiction often operates as either an extended metaphor for human relationships or as a genuine attempt to encounter the alien Other. Both types of stories tend to rehearse the processes of colonialism, in which a sympathetic protagonist encounters and tames the unknown. Despite this logic, Native American writers have claimed the genre as a productive space in which they can critique historical colonialism and reassert the value of Indigenous worldviews. Encountering the Sovereign Other proposes a new theoretical framework for understanding Indigenous science fiction, placing Native theorists like Vine Deloria Jr. and Gregory Cajete in conversation with science fiction theorists like Darko Suvin, David Higgins, and Michael Pinsky. In response to older colonial discourses, many contemporary Indigenous authors insist that readers acknowledge their humanity while recognizing them as distinct peoples who maintain their own cultures, beliefs, and nationhood. Here author Miriam C. Brown Spiers analyzes four novels: William Sanders's The Ballad of Billy Badass and the Rose of Turkestan , Stephen Graham Jones's It Came from Del Rio , D. L. Birchfield's Field of Honor , and Blake M. Hausman's Riding the Trail of Tears . Demonstrating how Indigenous science fiction expands the boundaries of the genre while reinforcing the relevance of Indigenous knowledge, Brown Spiers illustrates the use of science fiction as a critical compass for navigating and surviving the distinct challenges of the twenty-first century.

How Faulkner, Welty, Lytle, and Gordon reimagined and reconstructed the Native American past in their work. In this book, Annette Trefzer argues that not only have Native Americans played an active role in the construction of the South’s cultural landscape—despite a history of colonization, dispossession, and removal aimed at rendering them invisible—but that their under-examined presence in southern literature also provides a crucial avenue for a post-regional understanding of the American South. William Faulkner, Eudora Welty, Andrew Lytle, and Caroline Gordon created works about the Spanish conquest of the New World, the Cherokee frontier during the Revolution, the expansion into the Mississippi Territory, and the slaveholding societies of the American southeast. They wrote 100 years after the forceful removal of Native Americans from the southeast but consistently returned to the idea of an \"Indian frontier,\" each articulating a different vision and discourse about Native Americans—wholesome and pure in the vision of some, symptomatic of hybridity and universality for others. Trefzer contends that these writers engage in a double discourse about the region and nation: fabricating regional identity by invoking the South’s \"native\" heritage and pointing to issues of national guilt, colonization, westward expansion, and imperialism in a period that saw the US sphere of influence widen dramatically. In both cases, the \"Indian\" signifies regional and national self-definitions and contributes to the shaping of cultural, racial, and national \"others.\" Trefzer employs the idea of archeology in two senses: quite literally the excavation of artifacts in the South during the New Deal administration of the 1930s (a surfacing of material culture to which each writer responded) and archeology as a method for exploring texts she addresses (literary digs into the textual strata of America’s literature and its cultural history).

Virginia Woolf's debut novel 'The Voyage Out' has been enjoyed around the world for 95 years. Now you can read this classic story, set on a ship bound for South America and following Rachel Vinrace, who boards the ship to escape her oppressive life in London and seek a voyage of personal discovery, which somewhat mirrors Woolf's own experience as she joined the Bloomsbury Group.

This book charts how the cartographies of American literature as an institutional category have varied radically across different times and places. Arguing that American literature was consolidated as a distinctively nationalist entity only in the wake of the U.S. Civil War, Paul Giles identifies this formation as extending until the beginning of the Reagan presidency in 1981. He contrasts this with the more amorphous boundaries of American culture in the eighteenth century, and with ways in which conditions of globalization at the turn of the twenty-first century have reconfigured the parameters of the subject. In light of these fluctuating conceptions of space, Giles suggests new ways of understanding the shifting territory of American literary history. ranging from Cotton Mather to David Foster Wallace, and from Henry Wadsworth Longfellow to Zora Neale Hurston. Giles considers why European medievalism and Native American prehistory were crucial to classic nineteenth-century authors such as Emerson, Hawthorne, and Melville. He discusses how twentieth-century technological innovations, such as air travel, affected representations of the national domain in the texts of F. Scott Fitzgerald and Gertrude Stein. And he analyzes how regional projections of the South and the Pacific Northwest helped to shape the work of writers such as William Gilmore Simms, José Martí, Elizabeth Bishop, and William Gibson. Bringing together literary analysis, political history, and cultural geography,The Global Remapping of American Literaturereorients the subject for the transnational era.

InIndigenous CitiesLaura M. Furlan demonstrates that stories of the urban experience are essential to an understanding of modern Indigeneity. She situates Native identity among theories of diaspora, cosmopolitanism, and transnationalism by examining urban narratives-such as those written by Sherman Alexie, Janet Campbell Hale, Louise Erdrich, and Susan Power-along with the work of filmmakers and artists. In these stories Native peoples navigate new surroundings, find and reformulate community, and maintain and redefine Indian identity in the postrelocation era. These narratives illuminate the changing relationship between urban Indigenous peoples and their tribal nations and territories and the ways in which new cosmopolitan bonds both reshape and are interpreted by tribal identities.Though the majority of American Indigenous populations do not reside on reservations, these spaces regularly define discussions and literature about Native citizenship and identity. Meanwhile, conversations about the shift to urban settings often focus on elements of dispossession, subjectivity, and assimilation. Furlan takes a critical look at Indigenous fiction from the last three decades to present a new way of looking at urban experiences, one that explains mobility and relocation as a form of resistance. In these stories Indian bodies are not bound by state-imposed borders or confined to Indian Country as it is traditionally conceived. Furlan demonstrates that cities have always been Indian land and Indigenous peoples have always been cosmopolitan and urban.

This book explores the intersection between philosophical and literary universalism in Latin America, tracing its configuration within the twentieth-century Peruvian socialist indigenista tradition, following from the work of José Carlos Mariátegui and elaborated in the literary works of César Vallejo and José MaríaArguedas. Departing from conventional accounts that interpret indigenismo as part of a regionalist literature seeking to describe and vindicate the rural Indian in particular, I argue that Peruvian indigenista literature formed part of a historical sequence through which urban mestizo intellectuals sought to imagine a future for Peruvian society as a whole. Going beyond the destiny of acculturation imagined by liberal writers, such as Manuel González Prada, in the late nineteenth century, I show how the socialist indigenista tradition imagined a bilateral process of appropriation and mediation between the rural Indian and mestizo, integrating pre-Hispanic, as well as Western cultural and economic forms, so as to give shape to a process of alternative modernity apposite to the Andean world. In doing so, indigenista authors interrogated the foundations of European Marxism in light of the distinctiveness of Peruvian society and its history, expressing ever more nuanced figurations of the emancipatory process and the forms of its revolutionary agency.