Why are so many people attracted to narrative fiction? How do authors in this genre reframe experiences, people, and environments anchored to the real world without duplicating qreal lifeq? In which ways does fiction differ from reality? What might fictional narrative and reality have in commonaif anything? By analyzing novels such as Arundhati Roy's The God of Small Things, Amitav Ghosh's The Glass Palace, Zadie Smith's White Teeth, and Hari Kunzru's The Impressionist, along with selected Latino comic books and short fiction, this book explores the peculiarities of the production and reception of postcolonial and Latino borderland fiction. Frederick Luis Aldama uses tools from disciplines such as film studies and cognitive science that allow the reader to establish how a fictional narrative is built, how it functions, and how it defines the boundaries of concepts that appear susceptible to limitless interpretations. Aldama emphasizes how postcolonial and Latino borderland narrative fiction authors and artists use narrative devices to create their aesthetic blueprints in ways that loosely guide their readers' imagination and emotion. In A User's Guide to Postcolonial and Latino Borderland Fiction, he argues that the study of ethnic-identified narrative fiction must acknowledge its active engagement with world narrative fictional genres, storytelling modes, and techniques, as well as the way such fictions work to move their audiences.See also nation carnivalesque style, 87, 92 Carrier, David, 131 Carter, Forrest, 7 Carver, Raymond, 138 Castillo, Ana, 5, 29a30, 135 Century ... and Brown Power movement, 136; mainstreaming of, 9a10, 136; short stories by, 135a137.
|Title||:||A User's Guide to Postcolonial and Latino Borderland Fiction|
|Author||:||Frederick Luis Aldama|
|Publisher||:||University of Texas Press - 2010-01-01|