Jennifer Harford Vargas – författare

An intra-ethnic study of Latina/o fiction written in the United States from the early 1990s to the present, Forms of Dictatorship examines novels that depict the historical reality of dictatorship and exploit dictatorship as a literary trope. This literature constitutes a new sub-genre of Latina/o fiction, which the author calls the Latina/o dictatorship novel. The book illuminates Latina/os' central contributions to the literary history of the dictatorship novel by analyzing how Latina/o writers with national origin roots in the Caribbean, Mexico, and Central and South America imaginatively represent authoritarianism. The novels collectively generate what Harford Vargas terms a "Latina/o counter-dictatorial imaginary" that positions authoritarianism on a continuum of domination alongside imperialism, white supremacy, heteropatriarchy, neoliberalism, and border militarization. Focusing on novels by writers such as Junot Díaz, Héctor Tobar, Cristina García, Salvador Plascencia, and Francisco Goldman, the book reveals how Latina/o dictatorship novels foreground more ubiquitous modes of oppression to indict Latin American dictatorships, U.S. imperialism, and structural discrimination in the U.S., as well as repressive hierarchies of power in general. Harford Vargas simultaneously utilizes formalist analysis to investigate how Latina/o writers mobilize the genre of the novel and formal techniques such as footnotes, focalization, emplotment, and metafiction to depict dictatorial structures and relations. In building on narrative theories of character, plot, temporality, and perspective, Harford Vargas explores how the Latina/o dictatorship novel stages power dynamics. Forms of Dictatorship thus queries the relationship between different forms of power and the power of narrative form --- that is, between various instantiations of repressive power structures and the ways in which different narrative structures can reproduce and resist repressive power.

An intra-ethnic study of Latina/o fiction written in the United States from the early 1990s to the present, Forms of Dictatorship examines novels that depict the historical reality of dictatorship and exploit dictatorship as a literary trope. This literature constitutes a new sub-genre of Latina/o fiction, which the author calls the Latina/o dictatorship novel. The book illuminates Latina/os' central contributions to the literary history of the dictatorship novel by analyzing how Latina/o writers with national origin roots in the Caribbean, Mexico, and Central and South America imaginatively represent authoritarianism. The novels collectively generate what Harford Vargas terms a "Latina/o counter-dictatorial imaginary" that positions authoritarianism on a continuum of domination alongside imperialism, white supremacy, heteropatriarchy, neoliberalism, and border militarization. Focusing on novels by writers such as Junot Díaz, Héctor Tobar, Cristina García, Salvador Plascencia, and Francisco Goldman, the book reveals how Latina/o dictatorship novels foreground more ubiquitous modes of oppression to indict Latin American dictatorships, U.S. imperialism, and structural discrimination in the U.S., as well as repressive hierarchies of power in general. Harford Vargas simultaneously utilizes formalist analysis to investigate how Latina/o writers mobilize the genre of the novel and formal techniques such as footnotes, focalization, emplotment, and metafiction to depict dictatorial structures and relations. In building on narrative theories of character, plot, temporality, and perspective, Harford Vargas explores how the Latina/o dictatorship novel stages power dynamics. Forms of Dictatorship thus queries the relationship between different forms of power and the power of narrative form-that is, between various instantiations of repressive power structures and the ways in which different narrative structures can reproduce and resist repressive power.

The first sustained critical examination of the work of Dominican-American writer Junot DÍaz, this interdisciplinary collection considers how DÍaz's writing illuminates the world of Latino cultural expression and trans-American and diasporic literary history. Interested in conceptualizing DÍaz's decolonial imagination and his radically re-envisioned world, the contributors show how his aesthetic and activist practice reflect a significant shift in American letters toward a hemispheric and planetary culture. They examine the intersections of race, Afro-Latinidad, gender, sexuality, disability, poverty, and power in DÍaz's work. Essays in the volume explore issues of narration, language, and humor in The Brief Wondrous Life of Oscar Wao, the racialized constructions of gender and sexuality in Drown and This Is How You Lose Her, and the role of the zombie in the short story "Monstro." Collectively, they situate DÍaz’s writing in relation to American and Latin American literary practices and reveal the author’s activist investments. The volume concludes with Paula Moya's interview with DÍaz.Contributors: Glenda R. Carpio, Arlene DÁvila, Lyn Di Iorio, Junot DÍaz, Monica Hanna, Jennifer Harford Vargas, Ylce Irizarry, Claudia Milian, Julie Avril Minich, Paula M. L. Moya, Sarah Quesada, JosÉ David SaldÍvar, RamÓn SaldÍvar, Silvio Torres-Saillant, Deborah R. Vargas

The first sustained critical examination of the work of Dominican-American writer Junot DÍaz, this interdisciplinary collection considers how DÍaz's writing illuminates the world of Latino cultural expression and trans-American and diasporic literary history. Interested in conceptualizing DÍaz's decolonial imagination and his radically re-envisioned world, the contributors show how his aesthetic and activist practice reflect a significant shift in American letters toward a hemispheric and planetary culture. They examine the intersections of race, Afro-Latinidad, gender, sexuality, disability, poverty, and power in DÍaz's work. Essays in the volume explore issues of narration, language, and humor in The Brief Wondrous Life of Oscar Wao, the racialized constructions of gender and sexuality in Drown and This Is How You Lose Her, and the role of the zombie in the short story "Monstro." Collectively, they situate DÍaz’s writing in relation to American and Latin American literary practices and reveal the author’s activist investments. The volume concludes with Paula Moya's interview with DÍaz.Contributors: Glenda R. Carpio, Arlene DÁvila, Lyn Di Iorio, Junot DÍaz, Monica Hanna, Jennifer Harford Vargas, Ylce Irizarry, Claudia Milian, Julie Avril Minich, Paula M. L. Moya, Sarah Quesada, JosÉ David SaldÍvar, RamÓn SaldÍvar, Silvio Torres-Saillant, Deborah R. Vargas

This book focuses our attention on yet another community that has been scantily represented in Latino/a/x studies scholarship. US Colombians are no longer content to be characterized as “the other Latinos,” and the editors of this special issue make the case that study of US Colombianidades enhances and productively troubles Latino/a/x studies. This engaging set of essays highlights the rich diversity of US Colombianidades as well as the group’s similarities and differences with other Latino/a/x groups. With its innovative cultural studies and social sciences perspectives and interpretive theories, this volume offers a deep dive into issues such as how racial, gender, sexual, and socioeconomic realities shape US Colombian experience; the representation of US Colombians in popular culture; interethnic relations between Colombians and other Latina/o/xs; the political participation of Colombians in US electoral politics; Colombian transnational understandings of identity; and much more. Iwant to thank the editors of this special issue—Lina Rincón, Johana Londoño, Jennifer Harford Vargas, and María Elena Cepeda—for curating a set of articles that will most certainly inspire Latino/a/x studies scholars to expand our notions of Latinidades and be attentive to the ways in which a focus on US Colombianidades complicates and enriches our field.Previously published in Latino Studies Volume 18, issue 3, September 2020