Dude Lit

How did men become the stars of the Mexican intellectual scene? Dude Lit examines the tricks of the trade and reveals that sometimes literary genius rests on privileges that men extend one another and that women permit. The makings of the “best” writers have to do with superficial aspects, like conformist wardrobes and unsmiling expressions, and more complex techniques, such as friendship networks, prizewinners who become judges, dropouts who become teachers, and the key tactic of being allowed to shift roles from rule maker (the civilizado) to rule breaker (the bárbaro). Certain writing habits also predict success, with the “high and hard” category reserved for men’s writing and even film directing. In both film and literature, critically respected artwork by men tends to rely on obscenity interpreted as originality, negative topics viewed as serious, and coolly inarticulate narratives about bullying understood as maximum literary achievement. To build the case regarding “rebellion as conformity,” Dude Lit contemplates a wide set of examples while always returning to three figures, each born some two decades apart from the immediate predecessor: Juan Rulfo (with Pedro Páramo), José Emilio Pacheco (with Las batallas en el desierto), and Guillermo Fadanelli (with Mis mujeres muertas, as well as the range of his publications). Why do we believe Mexican men are competent performers of the role of intellectual? Dude Lit answers this question through a creative intersection of sources. Drawing on interviews, archival materials, and critical readings, this provocative book changes the conversation on literature and gendered performance.

Mexicana and Chicana authors from the late 1970s to the turn of the century helped overturn the patriarchal literary culture and mores of their time. This landmark volume acquaints readers with the provocative, at times defiant, yet subtle discourses of this important generation of writers and explains the influences and historical contexts that shaped their work. Until now, little criticism has been published about these important works. Addressing this oversight, Teaching Late-Twentieth-Century Mexicana and Chicana Writers starts with essays on Mexicana and Chicana authors. It then features essays on specific teaching strategies suitable for literature surveys and courses in cultural studies, Latino studies, interdisciplinary and comparative studies, humanities, and general education that aim to explore the intersectionalities represented in these works. Experienced teachers offer guidance on using these works to introduce students to border studies, transnational studies, sexuality studies, disability studies, contemporary Mexican history and Latino history in the United States, the history of social movements, and concepts of race and gender.

This groundbreaking collection of essays shows how the American Western has been reimagined in different national contexts, producing fictions that interrogate, reframe, and remix the genre in unexpectedly critical ways.

What would world literature look like, if we stopped referring to the “West”? Starting with the provocative premise that the “‘West’ is ten percent of the planet”, World Literature Decentered is the first book to decenter Eurocentric discourses of global literature and global history – not just by deconstructing or historicizing them, but by actively providing an alternative. Looking at a series of themes across three literatures (Mexico, Turkey and Bengal), the book examines hotels, melancholy, orientalism, femicide and the ghost story in a series of literary traditions outside the “West”. The non-West, the book argues, is no fringe group or token minority in need of attention – on the contrary, it constitutes the overwhelming majority of this world.

A classic thriller from New York Times bestselling author Jeffery Deaver featuring the intricate forensic detail, masterful plot twists, and harrowing breakneck pace that made A Maiden’s Grave, The Bone Collector, and The Coffin Dancer national bestsellers. It’s New Year’s Eve, December 31, 1999, and Washington, DC, is under siege. Early in the day, a grisly machine gun attack in the Dupont Circle Metro station leaves dozens dead and the city crippled with fear. A note delivered to the mayor’s office pins the massacre on the Digger, a robotlike assassin programmed to wreak havoc on the capital every four hours—until midnight. Only a ransom of $20 million delivered to the Digger’s accomplice—and mastermind—will end the death and terror. But the Digger becomes a far more sinister threat when his accomplice is killed in a freak accident while en route to the money drop. With the ransom note as the single scrap of evidence, Special Agent Margaret Lukas calls upon Parker Kincaid, a retired FBI agent and the top forensic document examiner in the country. Somehow, by midnight, they must find the Digger—before he finds them.

This volume, a case study on the grammar of third person references in two genres of spoken Ecuadorian Spanish, examines from a discourse-analytic perspective how genre affects linguistic patterns and how researchers can look for and interpret genre effects. This marks a timely contribution to corpus linguistics, as many linguists are choosing to work with empirical data. Corpus based approaches have many advantages and are useful in the comparison of different languages as well as varieties of the same language, but what is often overlooked in such comparisons is the genre of language under examination. As this case study shows, genre is an important factor in interpreting patterns and distributions of forms. The book also contributes toward theories of anaphora, referentiality and Preferred Argument Structure. It is relevant for scholars who work with referentiality, genre differences, third person references, and interactional linguistics, as well as those interested in Spanish morphosyntax.

A maverick Chicago cop uncovers a conspiracy that people with immense power will stop at nothing, not even murder, to keep secret. Set up as the killer of his only witness, he must find a way to clear himself and expose the conspiracy, which changes the course of history.