Juan E. de Castro – författare

The Latin American novel burst onto the international literary scene with the Boom era--led by Julio Cortázar, Gabriel García Márquez, Carlos Fuentes, and Mario Vargas Llosa--and has influenced writers throughout the world ever since. García Márquez and Vargas Llosa each received the Nobel Prize in literature, and many of the best-known contemporary novelists are inspired by the region's fiction. Indeed, magical realism, the style associated with García Márquez, has left a profound imprint on African American, African, Asian, Anglophone Caribbean, and Latinx writers. Furthermore, post-Boom literature continues to garner interest, from the novels of Roberto Bolaño to the works of César Aira and Chico Buarque, to those of younger novelists such as Juan Gabriel Vásquez, Alejandro Zambra, and Valeria Luiselli. Yet, for many readers, the Latin American novel is often read in a piecemeal manner delinked from the traditions, authors, and social contexts that help explain its evolution. The Oxford Handbook of the Latin American Novel draws literary, historical, and social connections so that readers will come away understanding this literature as a rich and compelling canon. In forty-five chapters by leading and innovative scholars, the Handbook provides a comprehensive introduction, helping readers to see the region's intrinsic heterogeneity--for only with a broader view can one fully appreciate García Márquez or Bolaño. This volume charts the literary tradition of the Latin American novel from its beginnings during colonial times, its development during the nineteenth and the first half of the twentieth century, and its flourishing from the 1960s onward. Furthermore, the Handbook explores the regions, representations of identity, narrative trends, and authors that make this literature so diverse and fascinating, reflecting on the Latin American novel's position in world literature.

The Spaces of Latin American Literature: Tradition, Globalization, and Cultural Production examines how Latin American writers, artists, and intellectuals have negotiated their relationship with Western culture from the colony to the present.

Nationality in Latin America has long been entwined with questions of racial identity. Just as American-born colonial elites grounded their struggle for independence from Spain and Portugal in the history of Amerindian resistance, constructions of nationality were based on the notion of the fusion of populations heterogeneous in culture, race, and language. But this rhetorical celebration of difference was framed by a real-life pressure to assimilate into cultures always defined by Iberian American elites. In Mestizo Nations, Juan De Castro explores the construction of nationality in Latin American and Chicano literature and thought during the nineteenth and twentieth centuries. Focusing on the discourse of mestizaje which proposes the creation of a homogenous culture out of American Indian, black, and Iberian elements he examines a selection of texts that represent the entire history and regional landscape of Latin American culture in its Western, indigenous, and neo-African traditions from Independence to the present. Through them, he delineates some of the ambiguities and contradictions that have beset this discourse. Among texts considered are the Indianist novel Iracema by the nineteenth-century Brazilian author Jose de Alencar; the Tradiciones peruanas, Peruvian Ricardo Palma's fictionalizations of national difference; and historical and sociological essays by the Peruvian Marxist Jose Carlos Mariategui and the Brazilian intellectual Gilberto Freyre. And because questions raised by this discourse are equally relevant to postmodern concerns with national and transnational heterogeneity, De Castro also analyzes such recent examples as the Cuban dance band Los Van Van's use of Afrocentric lyrics; Richard Rodriguez's interpretations of North American reality; and points of contact and divergence between Jose Maria Arguedas's novel The Fox from Up Above and the Fox from Down Below and writings of Gloria Anzaldua and Julia Kristeva.By updating the concept of mestizaje as a critical tool for analyzing literary text and cultural trends incorporating not only race, culture, and nationality but also gender, language, and politics De Castro shows the implications of this Latin American discursive tradition for current critical debates in cultural and area studies. Mestizo Nations contains important insights for all Latin Americanists as a tool for understanding racial relations and cultural hybridization, creating not only an important commentary on Latin America but also a critique of American life in the age of multiculturalism.

At a time in which many in the United States see Spanish America as a distinct and, for some, threatening culture clearly differentiated from that of Europe and the US, it may be of use to look at the works of some of the most representative and celebrated writers from the region to see how they imagined their relationship to Western culture and literature. In fact, while authors across stylistic and political divides—like Gabriela Mistral, Jorge Luis Borges, or Gabriel García Márquez—see their work as being framed within the confines of a globalized Western literary tradition, their relationship, rather than epigonal, is often subversive.Borges and Kafka, Bolaño and Bloom is a parsing not simply of these authors' reactions to a canon, but of the notion of canon writ large and the inequities and erasures therein. It concludes with a look at the testimonial and autobiographical writings of Rigoberta Menchú and Lurgio Gavilán, who arguably represent the trajectory of Indigenous testimonial and autobiographical writing during the last forty years, noting how their texts represent alternative ways of relating to national and, on occasion, Western cultures. This study is a new attempt to map writers' diverse ways of thinking about locality and universality from within and without what is known as the canon.

At a time in which many in the United States see Spanish America as a distinct and, for some, threatening culture clearly differentiated from that of Europe and the US, it may be of use to look at the works of some of the most representative and celebrated writers from the region to see how they imagined their relationship to Western culture and literature. In fact, while authors across stylistic and political divides—like Gabriela Mistral, Jorge Luis Borges, or Gabriel García Márquez—see their work as being framed within the confines of a globalized Western literary tradition, their relationship, rather than epigonal, is often subversive.Borges and Kafka, Bolaño and Bloom is a parsing not simply of these authors' reactions to a canon, but of the notion of canon writ large and the inequities and erasures therein. It concludes with a look at the testimonial and autobiographical writings of Rigoberta Menchú and Lurgio Gavilán, who arguably represent the trajectory of Indigenous testimonial and autobiographical writing during the last forty years, noting how their texts represent alternative ways of relating to national and, on occasion, Western cultures. This study is a new attempt to map writers' diverse ways of thinking about locality and universality from within and without what is known as the canon.

In the politically volatile period from the 1960s through the end of the twentieth century, Latin American authors were in direct dialogue with the violent realities of their time and place. Writing Revolution in Latin America is a chronological study of the way revolution and revolutionary thinking is depicted in the fiction composed from the eye of the storm.From Mexico to Chile, the gradual ideological evolution from a revolutionary to a neoliberal mainstream was a consequence of, on the one hand, the political hardening of the Cuban Revolution beginning in the late 1960s, and on the other, the repression, dictatorships, and economic crises of the 1970s and beyond. Not only was socialist revolution far from the utopia many believed, but the notion that guerrilla uprisings would lead to an easy socialism proved to be unfounded. Similarly, the repressive Pinochet dictatorship in Chile led to unfathomable tragedy and social mutation.This double-edged phenomenon of revolutionary disillusionment became highly personal for Latin American authors inside and outside Castro’s and Pinochet’s dominion. Revolution was more than a foreign affair, it was the stuff of everyday life and, therefore, of fiction.Juan De Castro’s expansive study begins ahead of the century with José Martí in Cuba and continues through the likes of Marios Vargas Llosa in Peru, Gabriel García Márquez in Columbia, and Roberto Bolaño in Mexico (by way of Chile). The various, often contradictory ways the authors convey this precarious historical moment speaks in equal measure to the social circumstances into which they were thrust and to the fundamental differences in the way the authors themselves interpreted history.

In the politically volatile period from the 1960s through the end of the twentieth century, Latin American authors were in direct dialogue with the violent realities of their time and place. Writing Revolution in Latin America is a chronological study of the way revolution and revolutionary thinking is depicted in the fiction composed from the eye of the storm.From Mexico to Chile, the gradual ideological evolution from a revolutionary to a neoliberal mainstream was a consequence of, on the one hand, the political hardening of the Cuban Revolution beginning in the late 1960s, and on the other, the repression, dictatorships, and economic crises of the 1970s and beyond. Not only was socialist revolution far from the utopia many believed, but the notion that guerrilla uprisings would lead to an easy socialism proved to be unfounded. Similarly, the repressive Pinochet dictatorship in Chile led to unfathomable tragedy and social mutation.This double-edged phenomenon of revolutionary disillusionment became highly personal for Latin American authors inside and outside Castro’s and Pinochet’s dominion. Revolution was more than a foreign affair, it was the stuff of everyday life and, therefore, of fiction.Juan De Castro’s expansive study begins ahead of the century with José Martí in Cuba and continues through the likes of Marios Vargas Llosa in Peru, Gabriel García Márquez in Columbia, and Roberto Bolaño in Mexico (by way of Chile). The various, often contradictory ways the authors convey this precarious historical moment speaks in equal measure to the social circumstances into which they were thrust and to the fundamental differences in the way the authors themselves interpreted history.

The Spaces of Latin American Literature: Tradition, Globalization, and Cultural Production examines how Latin American writers, artists, and intellectuals have negotiated their relationship with Western culture from the colony to the present.

The Contemporary Spanish-American Novel provides an accessible introduction to an important World literature. While many of the authors covered—Aira, Bolaño, Castellanos Moya, Vásquez—are gaining an increasing readership in English and are frequently taught, there is sparse criticism in English beyond book reviews. This book provides the guidance necessary for a more sophisticated and contextualized understanding of these authors and their works. Underestimated or unfamiliar Spanish American novels and novelists are introduced through conceptually rigorous essays. Sections on each writer include:*the author's reception in their native country, Spanish America, and Spain*biographical history*a critical examination of their work, including key themes and conceptual concerns*translation history*scholarly receptionThe Contemporary Spanish-American Novel offers an authoritative guide to a rich and varied novelistic tradition. It covers all demographic areas, including United States Latino authors, in exploring the diversity of this literature and its major themes, such as exile, migration, and gender representation.

Roberto Bolaño as World Literature provides an introduction to the Chilean novelist that highlights his connections with classic and contemporary masters of world literature and his investigation of topics of international interest, such as the rise of rightwing and neofascist movements during the last decades of the 20th century. But this anthology also shows how Roberto Bolaño's participation in world literature is informed in his experiences, identity, and, more generally, cultural location as a Chilean, Latin American and, more generally, Hispanic writer and man. This book provides a corrective to readings of his novels as exclusively "postmodern" or as unproblematically representative of Chilean or Latin American reality. Roberto Bolaño as World Literature thus helps readers to better understand such complex works as his monumental global five-part masterpiece 2666, his Chilean novels (Distant Star, By Night in Chile), and his Mexican narratives (Amulet, The Savage Detectives), among other works.

Roberto Bolaño as World Literature provides an introduction to the Chilean novelist that highlights his connections with classic and contemporary masters of world literature and his investigation of topics of international interest, such as the rise of rightwing and neofascist movements during the last decades of the 20th century. But this anthology also shows how Roberto Bolaño's participation in world literature is informed in his experiences, identity, and, more generally, cultural location as a Chilean, Latin American and, more generally, Hispanic writer and man. This book provides a corrective to readings of his novels as exclusively "postmodern" or as unproblematically representative of Chilean or Latin American reality. Roberto Bolaño as World Literature thus helps readers to better understand such complex works as his monumental global five-part masterpiece 2666, his Chilean novels (Distant Star, By Night in Chile), and his Mexican narratives (Amulet, The Savage Detectives), among other works.

Influenced by anarchism and especially by anarcho-syndicalist Georges Sorel, the political praxis of Peruvian activist and scholar José Carlos Mariátegui (1894-1930) deviated from the policies mandated by the Comintern. Mariátegui saw only new subjectivities as capable of making a revolution that would not recreate bourgeois or fascist structures. For Mariátegui, a new society required a new culture. He therefore not only founded the Peruvian Socialist Party, but also created Amauta, a magazine that brought together the writings of the political and cultural avant-gardes. This landmark book both examines Mariátegui’s views on the political valence of cultural habits and products and assesses the cultural underpinnings of the political proposals found in his writings and actions.