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• W4210806333 abstract "MLR, .,   exhaustively documents relevant secondary literature in most chapters, many of the recent political readings of Robinson do not appear in this section. Nevertheless, Chodat’s well-written book offers a rich, interdisciplinary examination of these authors, who seek ‘competence in words to live by’ (p. ). Writing in the age of scepticism that he outlines in his Introduction, Chodat bucks norms by finding merit in the weak realist’s engagement with abstractions. Academic audiences involved in analysing the philosophic and literary trends of the last several decades will consider e Matter of High Words vital reading. M S U J G Forms of Dictatorship: Power, Narrative, and Authoritarianism in the Latina/o Novel. By J H V. (Oxford Studies in American Literary History) New York: Oxford University Press. . vii+ pp. £.. ISBN ––––. In Forms of Dictatorship, Jennifer Harford Vargas is ‘centrally concerned with the migration of the dictatorship novel’ from its Latin American origins to its ‘aerlife ’ in the United States (p. ). e study explores texts set either during or aer authoritarian state violence and oppression, and tracks changes in literary form and expression as the authors fuse both ‘the socio-political and aesthetic concerns of Latina/o and Latin American literatures’ (p. ). Vargas employs rigorous and innovative readings as she closely examines the works of five major Latina/o writers, including Junot Díaz, Salvador Plascencia , Francisco Goldman, Héctor Tobar, and Cristina García. Using the ‘Latina/o counter-dictatorial imaginary’ as a framework, she explores how these writers form complex resistance narratives that detail a range of brutal dictatorships, authoritarian regimes, and the traumatic aer-effects experienced by racialized minorities in the United States (p. ). In an opening chapter on ‘Dictating Narrative Power’, Vargas argues that e Brief Wondrous Life of Oscar Wao () by Junot Díaz evinces all the ‘formal structures and narrative techniques’ of the Latina/o dictatorship novel (p. ). e focus on the transnational ‘haunting aerlife’ of the Trujillo dictatorship is central to the analysis, as is the clearly argued explication of the conflict staged by Diaz between dictating/writing as a resistant act (zafa) and the dictatorship as an authoritarian and oppressive act (fukú) (pp. –). Vargas successfully develops this method of analysis in the second chapter, ‘e Borderlands of Authoritarianism’, which explores Salvador Plascencia’s metafictional novel e People of Paper () both for its ‘authoritarian narration’ and its ‘incisive examination of power, control, and agency’ in the United States–Mexico borderlands (p. ). Here, as in other chapters, Vargas convincingly emphasizes the complex narratology associated with contemporary Latina/o dictatorship novels and their effectivity as ‘decolonial resistance narratives’ (p. ). e analysis of Francisco Goldman’s e Ordinary Seaman (), for instance, very clearly draws attention to the way in which the text evokes  Reviews and critiques present-day forms of slavery, military interventionism, and the plight of undocumented migrants (p. ). e interpretative frameworks, including the metaphor of the shipwreck and ideas of social death, are hemispheric in scope, and are strongly and effectively argued. In ‘Plotting Justice’, Vargas also reads e Tattooed Soldier (), the work of Guatemalan American author Héctor Tobar, as a text that is haunted by a US-funded military dictatorship and the ‘spectre of authoritarian rule’ (p. ). At the same time, the text also explores ‘fantasies of justice’ against transnational, state-perpetrated violence symbolized by the LAPD and Rodney King, and ‘e Jaguar Battalion’, a South American death squad responsible for disappearances, torture, and assassination (p. ). e final chapter and coda provide an additional dimension that both strengthens and elaborates the central thesis of Vargas’s study. In ‘e Fall of the Patriarchs’, the discussion of Cristina García’s e King of Cuba () adds an important and specifically Latina feminist interpretation as Vargas demonstrates how the text draws connections between ‘exile politics, heteropatriarchy, and authoritarianism’ (p. ). e coda further develops this analysis as Vargas interprets several PLACA murals and those by the Chicana artist Juana Alicia in the Mission District, San Francisco; here, she strengthens the linkages between past and present state violence and cultural resistance established in the previous chapters of the book. e analysis of the murals con..." @default.
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• W4210806333 date "2019-01-01" @default.
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• W4210806333 title "Forms of Dictatorship: Power, Narrative, and Authoritarianism in the Latina/o Novel by Jennifer Harford Vargas" @default.
• W4210806333 doi "https://doi.org/10.1353/mlr.2019.0084" @default.
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