Rolando Hinojosa

Once relegated to the borders of literature—neither Mexican nor truly American—Chicana/o writers have always been in the vanguard of change, articulating the multicultural ethnicities, shifting identities, border realities, and even postmodern anxieties and hostilities that already characterize the twenty-first century. Indeed, it is Chicana/o writers' very in-between-ness that makes them authentic spokespersons for an America that is becoming increasingly Mexican/Latin American and for a Mexico that is ever more Americanized. In this pioneering study, Héctor Calderón looks at seven Chicana and Chicano writers whose narratives constitute what he terms an American Mexican literature. Drawing on the concept of "Greater Mexican" culture first articulated by Américo Paredes, Calderón explores how the works of Paredes, Rudolfo Anaya, Tomás Rivera, Oscar Zeta Acosta, Cherríe Moraga, Rolando Hinojosa, and Sandra Cisneros derive from Mexican literary traditions and genres that reach all the way back to the colonial era. His readings cover a wide span of time (1892-2001), from the invention of the Spanish Southwest in the nineteenth century to the América Mexicana that is currently emerging on both sides of the border. In addition to his own readings of the works, Calderón also includes the writers' perspectives on their place in American/Mexican literature through excerpts from their personal papers and interviews, correspondence, and e-mail exchanges he conducted with most of them.

Klail City is the pivotal novel in HinjosaÍs continuing saga, the Klail City Death Trip Series. It is concerned with power as articulated through the disjunctive class and race relations between Texas Mexicans and Texas Anglos in the lower Rio Grande Valley. In his desire to help recreate the kaleidoscopic past, Hinojosa employs four generations of storytellers who thoroughly mesmerize the reader with their tales of tragic realism, alienation and desire. Klail City (in its Spanish version) is the winner of Latin AmericaÍs most prestigious literary award, the Casa de las Am?ricas Prize. It has been published in German and now, HinojosaÍs own English-language version is available. Rolando Hinojosa is the best known and most prolific Mexican American novelist. His works, which form a continuing, ever-evolving saga of life in the small border towns in TexasÍs lower Valley, are acclaimed for their fine sense of wit and pathos and their ability to capture the nuances of oral language.

Rolando Hinojosa is a Texas writer with his sense of place centered in the Texas Valley, a world in itself and a place recognizable as a discrete community. But Hinojosa's work transcends the regional, transcends the Valley, transcends Texas, while it remains rooted in all three. Hinojosa is treated here from the perspective of his place in the mainstream of American literature and with his attempts to write works that speak to a large and more diverse audience, rather than from the perspective of his place within the world of Texas-Mexican literature. Joyce Lee does not neglect the regional aspects of Hinojosa's works, but puts them into the context of what they say about the vitality of American culture at large and about the Mexican culture's variations of the American Dream. Covers Hinojosa's full-length books-- Dear Rafe, Klail City, The Useless Servants, The Valley, Partners in Crime, and Rites and Witnesses --as well as his essays and articles.

In the tragicomic novel, We Happy Few, internationally recognized author Rolando Hinojosa takes us inside the politics of a tumultuous university campus set in a quiet university town on the Texas-Mexico border. The chaotic politics of faculty promotions and tenure, the zany protests of a student group representing the majority Mexican-American ethnic group on campus, and the complex work of a search committee to replace a high-level university administrator unfold at Belken State University in Klail City, Texas. From the offices of deans and professors to those of familiar power brokers such as banker Arnold ñNoddyî Perkins and police chief Rafe Buenrostro, and even to the State House in Austin, Hinojosa sets up a beguiling game of life„and death. Racism and political machinations raise the stakes in the battle for the future of the university, the outcome of which will decide the fate of the faculty, staff, and especially the students, who place their hope for advancement in education. With We Happy Few, Hinojosa once again invites readers to observe the goings-on in his quixotic literary landscape, which the New York Times compared to Gabriel GarcÕa MàrquezÍs Macondo and William FaulknerÍs Yoknapatawpha.

Gilb has created more than a literary anthology--this is a mosaic of the cultural and historical stories of Texas Mexican writers, musicians, and artists.

Don DeLillo, Paul Auster, Cormac McCarthy, Rolando Hinojosa, E. Annie Proulx, Bret Easton Ellis, Douglas Coupland, and Thomas Pynchon: An Introduction to Contemporary American Fiction introduces the work of a range of key American authors, all of whom can be said to engage with postmodernism. Exploring the vitality and energy of contemporary writing in light of pessimistic proclamations on the state of postmodern American culture, Bilton highlights the tension between "realistic" description and linguistic self-consciousness in contemporary fiction. In addition, by addressing a central problem in literary theory—its neglect of literary discussion and the practice of reading—An Introduction to Contemporary American Fiction is able to present a working model for reading a text theoretically. As an introductory text, it assumes no prior knowledge of the authors of the novels discussed. To encourage understanding and aid further study, the following features are included: * GLOSSARY OF CRITICAL AND LITERARY TERMS * BIBLIOGRAPHY OF EACH AUTHOR'S WORKS * BIOGRAPHY OF EACH AUTHOR * GUIDE TO FURTHER READING * THEMATIC AND AUTHOR INDICES