This hilarious novel is a feminist spoof on the mostly-male magical realists of the "Boom" generation.

Depicting the 20th century as a character, this novel explores what happens when that character, dying, passes through a Bardo state—an intermediate state of the soul between death and rebirth.

Told in the voice of a five-year-old girl who sees more than she understands, this novel chronicles her passage through sickness, the separation of her parents, and a maze of secret lives, all with the richness of her budding imagination.

What elements are present for a body of writing to be considered Latina/o? Through the analysis of nine recent Latina/o novels, Karen Christian melds the theory of "performativity" with the latest scholarship on ethnicity and ethnic literature to create a framework for viewing identity as a continuous process that cannot be reduced to static categories.

Told in the voice of a lone holdout standing guard on an unnamed frontier, Redoubt addresses questions of conception and birth, gender, war and the slouch toward Apocalypse. Structured like a series of jazz riffs, its thematic underpinnings are drawn in part from the dictionary definitions that introduce each section--back cover.

This poetic narrative discusses the creative life of a 9th century Indian stonecarver who is drafted at an early age to spend his entire life working on the thousands of statues that fill the niches of an Indonesian temple. Exploring the muse–artist relationship as few works of fiction have done, this novel is an intensely political work—a parable that pits the blind cruelty of a feudal ruler against the creative expression of a single slave.

A riveting journey down Theodore Roosevelt's "river of doubt" with a diverse crew of adventurers, scientists, and Indigenous leaders who shine light on the past, present, and future of a natural wonder. Sam Moses took part in the adventure of a lifetime when he, along with seventeen men and two women, embarked on the Rio Roosevelt Expedition. They would follow the former president's wake down five-hundred miles of extreme whitewater into the dark heart of the Amazon. The party was guided by two chiefs from the Cinta Larga tribe—the same tribe that stalked Roosevelt’s expedition in 1914—who, between rapids, tell the story of the tribe’s own Trail of Tears. After the wildest whitewater is past, Moses travels with the chiefs to their village to witness the massive illegal mahogany logging from their forest, the Roosevelt Indigenous Territory. River Without a Cause puts us in the raft during those heart pounding rapid descents, as we experience the drama, dynamics and disputes between the Bull Moose and his co-leader, Brazil’s most famous explorer, the rigid Colonel Candido Rondon. As the Amazon stands on the precipiece of hope with the election of a new Brazillian president, River Without a Cause is a moving and galvanzing tale of adventure that is a fitting tribute to this world wonder.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today's audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references. Mythological figures, creatures, places and stories crowd Shakespeare's plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare's spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.