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By Monika Kaup, Debra Rosenthal

Over the final 5 centuries, the tale of the Americas has been a narrative of the blending of races and cultures. now not unusually, the difficulty of miscegenation, with its attendant fears and hopes, has been a pervasive subject in New international literature, as writers from Canada to Argentina confront the legacy of cultural hybridization and fusion.

This ebook takes up the problem of remodeling American literary and cultural experiences right into a comparative self-discipline via studying the dynamics of racial and cultural mix and its contrary tendency, racial and cultural disjunction, within the literatures of the Americas. Editors Kaup and Rosenthal have introduced jointly a extraordinary set of students who examine the therapy of racial and cultural combos in literature from North the US, the Caribbean, and Latin the US. From quite a few angles, they remap the Americas as a multicultural and multiracial hemisphere, with a standard heritage of colonialism, slavery, racism, and racial and cultural hybridity.

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Extra resources for Mixing Race, Mixing Culture: Inter-American Literary Dialogues

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W HO CA N TELL? The Blanks in Villaverde Doris Sommer How clever readers feel holding Cecilia Valdés (Cuba, ), certainly as clever as Cirilo Villaverde’s narrator, who doesn’t make the obvious connections about the heroine’s obscure background. Readers have always understood them and probably have felt flattered by their competence. Clearly, the light-skinned beauty who tries, with some success, to pass for white was born in  to a mulatta who went mad after her white lover sent to an orphanage the shameful evidence of their affair.

See Hans Nathan, ‘‘Dixie,’’ Encyclopedia of Southern Culture, eds. Reagan Wilson and Ferris, .   W HO CA N TELL? The Blanks in Villaverde Doris Sommer How clever readers feel holding Cecilia Valdés (Cuba, ), certainly as clever as Cirilo Villaverde’s narrator, who doesn’t make the obvious connections about the heroine’s obscure background. Readers have always understood them and probably have felt flattered by their competence. Clearly, the light-skinned beauty who tries, with some success, to pass for white was born in  to a mulatta who went mad after her white lover sent to an orphanage the shameful evidence of their affair.

17 The book was thus thought not just to represent a certain course of action but to ‘‘recommend ’’ it to human readers. It could not be taken as a ‘‘family values’’ role model that taught the young ones to associate continuous physical pleasure with the ‘‘clean’’ institution of a collectively sanctioned heterosexual marriage; it also could not reassure segregationists that the rabbits were—unlike Faulkner’s fox and hound—clearly of the same species. The rabbits’ color difference overruled all other considerations.

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