Border Transits: Literature and Culture across the Line. - download pdf or read online

By Ana M. Manzanas

What constitutes a border state of affairs? How translatable and "portable" is the border? What are the borders of phrases surrounding the border? In its 5 sections, Border Transits: Literature and tradition around the Line intends to handle those concerns because it brings jointly visions of border dynamics from each side of the Atlantic Ocean. the amount opens with "Part I: (B)orders and contours: A Theoretical Intervention," which explores the circle and the go as spatial configurations of 2 contradictory urges, to split and divide at the one hand, and to welcome and make allowance passage at the different. "Part II: Visions of the Mexican-US Border" zooms in onto the Mexican-United States border because it delves into the border transits among the 2 neighboring nations. yet what occurs once we situate the border at the cultural terrain? How good does the border trip? "Part III: Cultural Intersections" expands the border stumble upon because it bargains with different ways that texts are encoded, registered, appropriated, mimicked and remodeled in different cultural texts. "Part IV: Trans-Nations," addresses situations of trans-American family stemming from stories of up-rooting and intercultural contacts within the context of mass-migration and migratory flows. ultimately, "Part V: Trans-Lations," offers with the ways that the cultural borderlands suffuse different discourses and cultural practices. the amount is of curiosity for students and researchers within the box of Border reviews, Chicano stories, "Ethnic Studies," in addition to American Literature and tradition

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Additional info for Border Transits: Literature and Culture across the Line.

Sample text

This apparent writing of the border, however, is countered progressively in light of the chronological publication of the texts here mentioned. Much like Saavedra’s book first inveigles the reader by satisfying his/her expectations for donkey shows only to later force us into a different appreciation of Tijuana, Urrea’s Across the Wire first lures and then confirms round-trip passage for the reader-turnedtourist both literally and metaphorically on board a “mini-safari” headed straight to border “hell” and back.

On the one hand, if as Michel de Certeau reminds us, “Everyday life invents itself by poaching in countless ways on the property of others” (1984: xii), what I am establishing by referencing the images of the border prefaced above, is that there is a particular border image that is owned, reproduced, and marketed by a set of others that are alien to the situations they describe and/or promote. One aspect I will highlight towards the end of this essay is what, either as willing or unwilling consumers of these cultural products, border dwellers “make” or “do”—to continue with de Certeau’s language— with these images (1984: xii).

Indeed, in the “Author’s Note” that prefaces the stories, Ríos makes clear that his border is more than just a place on a map. ’ It is not, finally, an external, physical line, as maps and the border patrol and immigration would have. The line is, more cleverly, inside, where jeeps cannot go. This is the true line” (1995: xiii). Later, in the fourth story in the collection, “The Great Gardens of Lamberto Diaz,” there is a return to this notion of physical displacement when describing the uncharted terrain of the gardens in question: “It was not predictable land, nor was it measurable, so that the town surveyor had paid it slight attention.

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