Artic le Reconquista : I lan Stavans and multicultural ist Latino / a discourse
Ilan Stavans constructs a multiculturalist framework for understanding the US Latino/a experience. By reading The Hispanic Condition (1995) alongside Stavans’ discussions of the Latino/a literary canon in the introductions to his anthologies, New World (1997) and Lengua Fresca (Augenbraum and Stavans, 2006), and his articles in the Chronicle of Higher Education, I argue that this multiculturalist approach is based on an equation of culture with language. Through this linguistic formulation of Latinidad with the Spanish language as its defining facet, Stavans privileges a colonialist rendering of Latino/a history, tracing the ancestral lineage of Latino/as in terms of solely Western European culture. By valorizing Spanish colonization, Stavans glosses over sites of violence in order to highlight a linguistic inheritance and formulates US Latino/a identity in opposition to American indigenous cultures. Uncovering the way in which Ilan Stavans positions the indigenous as Other in his multiculturalist approach to Latinidad is essential to understanding the colonialist and conservative underpinnings of how Stavans structures the Latino/a literary canon. I will consequently address how Latino/a Studies critics have wrestled with Stavans’ influence on the field and the ways in which Stavans’ vision of US Latino/a Studies resembles or reflects its institutional orientation and disciplinary locations. Latino Studies (2009) 7, 410–434. doi:10.1057/lst.2009.42
The Caribbean Postcolonial: Social Equality, Post/Nationalism, and Cultural Hybridity
the relation between cultural production and political struggle, and between the aesthetic and the material as expressions of social relations, are absolutely central themes within caribbean studies in all of its disciplinary and interdisciplinary guises. A key question for the field as a whole is what role it might play in generating new approaches to “cultural political economy,” which is emerging as an effective bridging concept at the intersections of anthropology, sociology, economics, political theory, and literary and cultural studies. Both of the books reviewed here navigate the distinctively caribbean confluence of two theoretical traditions: a class-centered tradition of anticapitalist political theory and praxis and an aesthetics-centered tradition of anticolonial cultural theory and praxis. Joy Mahabir describes her approach as “historical materialist” while shalini Puri describes hers as grounded in “Marxist cultural theory.” Both also incorporate questions of racial, gender, and sexual hierarchies. each book engages with a wide range of cultural objects and sites: literary and theoretical texts, musical lyrics and performance, carnival and public festivities. thus while focused mainly on literary studies, these texts contribute to the increasingly prevalent transdisciplinary caribbean cultural studies methodology that encompasses high art and popular culture, performance and politics, theory and history. Indeed, the very relation between the aesthetic and the political is at the core of each author’s concerns.
"The Plain Round Tale of Faithful Thady": Castle Rackrent as Slave Narrative
Critics of Maria Edgeworth’s Castle Rackrent tend to focus on textual elements—gender issues, the symbolism of the Big House, colonial hegemony— or contextual readings by placing Edgeworth in the Anglo-Irish history and tradition. While such criticism usually in some way examines the main theme of the text, the appropriation of power and authority, little of it accomplishes both the textual and contextual analysis that Castle Rackrent deserves. Exploring Thady’s “plain round tale” as a slave narrative in content and form sheds new light on the work both textually and contextually; in Thady Quirk, Edgeworth has created a typical slave narrator who recounts a history of oppression which is ultimately mediated by an outside editor. As John Cronin writes of Castle Rackrent, “What Maria Edgeworth has given us . . . is a magnificently realised slave, a terrifying vision of the results of colonial misrule. There must have been a moment of clearly deliberate artistic decision in which she realised that what needed to be said must be said through one of the submerged people.”1 The three main textual elements of the narrative indicate its likeness to typical slave narratives: its presentation of a conflicted slave narrator, its use of the framing device of the outside editor, and its narrative structure of episodic anecdotes that utilizes memory, description, and didacticism.