By Elena Machado Sáez, Raphael Dalleo
Within the first examine of Latino/a literature to systematically learn the post-Sixties new release of writers, The Latino/a Canon and the Emergence of Post-Sixties Literature challenges the ways in which Latino/a literary stories imagines the connection of paintings, politics and the marketplace. Dalleo and Machado Sáez interact with the key critics from the sector to dispute the consensus view of Latino/a literature from the Nineteen Sixties as politically dedicated and proof against the marketplace as opposed to the literature of the Nineteen Nineties as apolitical and assimilationist as a result of its commodification. This research argues that post-Sixties writers Pedro Pietri, Ernesto Quiñonez, Abraham Rodriguez, Junot Díaz, Angie Cruz, Cristina Garcia and Julia Alvarez haven't deserted politics, yet are imagining inventive ideas for revitalizing revolutionary concept through the industry.
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Extra resources for The Latino/a Canon and the Emergence of Post-Sixties Literature
Sample text
In taking contemporary literature to task for becoming commodified, critics adopt a perspective already seen in “Puerto Rican Obituary,” envisioning the market as corrupting, co-opting, or depoliticizing. Progressive politics in this formulation is incompatible with the market. Yet as Blades’s ability to reach a broad international audience with a political message demonstrates, perhaps it is not simply the market that is the problem here. Just as anticolonial movements opportunistically took advantage of precisely the levers of domination that were being used against them—nationalism, high art, and physical force—perhaps we can imagine different kinds of markets and different kinds of commodities.
Flores’s work makes a move from literature to music similar to Sánchez González’s and Otero Garabís’s trajectories, as is evident in the transition from his first collection of essays, Divided Borders: Essays on Puerto Rican Identity (1993), to his second, From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity (2000). Flores’s first set of essays, written between 1979 and 1991, engage in an against-the-grain literary criticism of the Puerto Rican canon. Flores develops the strategy in this volume of deploying literary texts in order to draw conclusions about Puerto Rican culture and society as a whole.
Colón and Pietri thus construct a role for the poet or writer that we see mirrored in this same period in such publications of the Frankfurt School as Horkheimer and Adorno’s Dialectic of Enlightenment (1944) or Marcuse’s One-Dimensional Man (1964). com - licensed to Chung Hua University - PalgraveConnect - 2011-03-05 PERIODIZING LATINO/A LITERATURE 24 THE LATINO/A CANON AND THE EMERGENCE OF POST-SIXTIES LITERATURE CRITICAL NOSTALGIA FOR THE ANTICOLONIAL Originally published in 1961, A Puerto Rican in New York reappeared in the 1980s thanks to the efforts of Juan Flores, who edited and reissued the collection.
