The Boom Femenino in Mexico: Reading Contemporary Women’s Writing is a collection of essays that focuses on literary production by women in Mexico over the last three decades. In its exploration of the boom femenino phenomenon, the book traces the history of the earlier boom in Latin American culture and investigates the implications of the use of the same term in the context of contemporary women’s writing from Mexico. In this way it engages critically with the cultural, historical and literary significance of the term illuminating the concept for a wide range of readers. It is clear that the entry of so many women writers into an arena traditionally reserved for men has prompted discussion around concepts such as ‘women’s writing’ and the very definition of ‘literature’ itself. Many of the contributors grapple with the theoretical tensions that such debates provoke offering an important opportunity to think critically about the texts produced during this period and the ways in which they have impacted on the Mexican and international cultural spheres. The project is comprehensive in its scope and, for the first time, brings together scholars from Mexico, the U.S. and Europe in a transnational forum. The book posits that despite certain aesthetic and thematic commonalities, the increased output by women writers in Mexico cannot be appraised as a unified literary movement. Instead it embraces a wide range of different generic forms and the subjects under study in the essays in the book include the best-selling work of Ángeles Mastretta, Elena Poniatowska and Laura Esquivel as well as the social and political preoccupations of journalists, Rosanna Reguillo and Cristina Pacheco. Contributors offer readings of the aesthetic visions of writers as diverse as Carmen Boullosa, Ana García Bergua, and Eve Gil while other essays examine the nuances of contemporary gender identity in the work of Ana Clavel, Sabina Berman, Brianda Domecq and María Luisa Puga. There are essays devoted to poetry by indigenous Mayan women and an analysis of the complex place of poetry within the broader framework of literary production. The problems that emerge as a result of literary cataloguing based on gender politics are also considered at length in a number of essays that take a panoramic view of literary production over the period. Various critical approaches are employed throughout and the collection as a whole demonstrates that academic interest in Mexican women’s writing of the boom femenio is thriving. Above all, the essays here provide a space in which the location of women within prevailing cultural paradigms in Mexico and their role in the mapping of power in evolving textual canons may be interrogated. It is clear from the collection that interest in such issues is still alive and that the debate is far from over.

Ana Clavel is a remarkable contemporary Mexican writer whose literary and multimedia oeuvre is marked by its queerness. The queer is evinced in the manner in which she disturbs conceptions of the normal not only by representing outlaw sexualities and dark desires but also by incorporating into her fictive and multimedia worlds that which is at odds with normalcy as evinced in the presence of the fantastical, the shadow, ghosts, cyborgs, golems and even urinals. Clavels literary trajectory follows a queer path in the sense that she has moved from singular modes of creative expression in the form of literary writing, a traditional print medium, towards other non-literary forms. Some of Clavels works have formed the basis of wider multimedia projects involving collaboration with various artists, photographers, performers and IT experts. Her works embrace an array of hybrid forms including the audiovisual, internet-enabled technology, art installation, (video) performance and photography. By foregrounding the queer heterogeneous narrative themes, techniques and multimedia dimension of Clavels oeuvre, the aim of this monograph is to attest to her particular contribution to Hispanic letters, which arguably is as significant as that of more established Spanish American boom femenino women writers.

"The post-revolutionary Mexican literary canon was formed by cultural and political elites who sought to identify and reward those novels which would best represent the new nation. Reviewers found what they were looking for in Gregorio Lopez y Fuentes's El indio (1935) for example, but not in Consuelo Delgados's Yo tambien, Adelita (1936). This groundbreaking study provides a fresh perspective on canon formation by uncovering the circumstances and readings which produced a male-dominated Mexican literary canon."

The Boom Femenino in Mexico: Reading Contemporary Womenâ (TM)s Writing is a collection of essays that focuses on literary production by women in Mexico over the last three decades. In its exploration of the boom femenino phenomenon, the book traces the history of the earlier boom in Latin American culture and investigates the implications of the use of the same term in the context of contemporary womenâ (TM)s writing from Mexico. In this way it engages critically with the cultural, historical and literary significance of the term illuminating the concept for a wide range of readers. It is clear that the entry of so many women writers into an arena traditionally reserved for men has prompted discussion around concepts such as â ~womenâ (TM)s writingâ (TM) and the very definition of â ~literatureâ (TM) itself. Many of the contributors grapple with the theoretical tensions that such debates provoke offering an important opportunity to think critically about the texts produced during this period and the ways in which they have impacted on the Mexican and international cultural spheres. The project is comprehensive in its scope and, for the first time, brings together scholars from Mexico, the U.S. and Europe in a transnational forum. The book posits that despite certain aesthetic and thematic commonalities, the increased output by women writers in Mexico cannot be appraised as a unified literary movement. Instead it embraces a wide range of different generic forms and the subjects under study in the essays in the book include the best-selling work of à ngeles Mastretta, Elena Poniatowska and Laura Esquivel as well as the social and political preoccupations of journalists, Rosanna Reguillo and Cristina Pacheco. Contributors offer readings of the aesthetic visions of writers as diverse as Carmen Boullosa, Ana GarcÃ-a Bergua, and Eve Gil while other essays examine the nuances of contemporary gender identity in the work of Ana Clavel, Sabina Berman, Brianda Domecq and MarÃ-a Luisa Puga. There are essays devoted to poetry by indigenous Mayan women and an analysis of the complex place of poetry within the broader framework of literary production. The problems that emerge as a result of literary cataloguing based on gender politics are also considered at length in a number of essays that take a panoramic view of literary production over the period. Various critical approaches are employed throughout and the collection as a whole demonstrates that academic interest in Mexican womenâ (TM)s writing of the boom femenio is thriving. Above all, the essays here provide a space in which the location of women within prevailing cultural paradigms in Mexico and their role in the mapping of power in evolving textual canons may be interrogated. It is clear from the collection that interest in such issues is still alive and that the debate is far from over.

Strategic Occidentalism examines the transformation, in both aesthetics and infrastructure, of Mexican fiction since the late 1970s. During this time a framework has emerged characterized by the corporatization of publishing, a frictional relationship between Mexican literature and global book markets, and the desire of Mexican writers to break from dominant models of national culture. In the course of this analysis, Ignacio M. Sánchez Prado engages with theories of world literature, proposing that “world literature” is a construction produced at various levels, including the national, that must be studied from its material conditions of production in specific sites. In particular, he argues that Mexican writers have engaged in a “strategic Occidentalism” in which their idiosyncratic connections with world literature have responded to dynamics different from those identified by world-systems or diffusionist theorists. Strategic Occidentalism identifies three scenes in which a cosmopolitan aesthetics in Mexican world literature has been produced: Sergio Pitol’s translation of Eastern European and marginal British modernist literature; the emergence of the Crack group as a polemic against the legacies of magical realism; and the challenges of writers like Carmen Boullosa, Cristina Rivera Garza, and Ana García Bergua to the roles traditionally assigned to Latin American writers in world literature.

This book studies picaresque narratives from 1690 to 2013, examining how this literary form serves as a reflection on the material conditions necessary for writing literature in Mexico. In The Picaresque and the Writing Life in Mexico, Jorge Téllez argues that Mexican writers have drawn on the picaresque as a device for pondering what they regard as the perils of intellectual and creative labor. Surveying ten narratives from 1690 to 2013, Téllez shows how, by and large, all of them are iterations of the same basic structure: pícaro meets writer; pícaro tells life story; writer eagerly writes it down. This written mediation (sometimes fictional but other times completely factual) is presented as part of a transaction in which it is rarely clear who is exploiting whom. Highlighting this ambiguity, Téllez’s study brings into focus the role that the picaresque has played in the presentation of writers as disenfranchised and vulnerable subjects. But as Téllez demonstrates, these narratives embody a discourse of precarity that goes beyond pícaros, and applies to all subjects who engage in the production and circulation of literature. In this way, Téllez shows that the literary form of the picaresque is, above all, a reflection on the value of literature, as well as on the place and role of writing in Mexican society more broadly. The Picaresque and the Writing Life in Mexico is a unique work that suggests new paths for studying the reiteration of literary forms across centuries. Looking at the picaresque in particular, Téllez offers a new interpretation of this genre within its national context and suggests ways in which this genre remains relevant for reflecting on literature in contemporary society. It will be of interest to students and scholars of Latin American studies, Mexican cultures and literatures, and comparative literature.

This book - now available in paperback - is the first in-depth review and assessment of Laura Esquivel criticism. Outstanding essayists - from diverse critical perspectives in Latin American literature and film - explore Esquivel's critical reputation, contextualize her work in literary movements, and consider her four novels, as well as the film based on Like Water for Chocolate. The book begins with An Introduction to Esquivel Criticism, reviewing 20 years of global praise and condemnation. Elena Poniatowska, in an essay provided in the original Spanish and in translation, reflects on her first reading of Like Water for Chocolate. From unique critical perspectives, Jeffrey Oxford, Patrick Duffey, and Debra Andrist probe the novel as film and fiction. The Rev. Dr. Stephen Butler Murray explores Esquivel's spiritual focus, while cultural geographer Maria Elena Christie uses words and images to compare Mexican kitchen-space and Esquivel's first novel. Elizabeth Coonrod Martinez and Lydia H. Rodriguez affirm divergent readings of The Law of Love, and Elizabeth M. Willingham discusses the contested national identity in Swift as Desire. Jeanne L. Gillespie and Ryan F. Long approach Malinche: A Novel through historical documents and popular and religious culture. In the closing essay, Alberto Julian Perez contextualizes Esquivel's fiction within Feminist and Hispanic literary movements. This book has won the Harvey L. Johnson Book Award for 2011, conferred by the South Central Organization of Latin American Studies at its 44th annual Congress in Miami, Florida (March 9, 2012).

By incorporating a variety of critical approaches within a feminist framework, the author here argues that Mexican women writers participate in a crucial project of unsettling dominant discourses as they strive for new ways of capturing the ambivalent position of the Mexican women in their texts.

A History of Mexican Literature chronicles a story more than five hundred years in the making, looking at the development of literary culture in Mexico from its indigenous beginnings to the twenty-first century. Featuring a comprehensive introduction that charts the development of a complex canon, this History includes extensive essays that illuminate the cultural and political intricacies of Mexican literature. Organized thematically, these essays survey the multilayered verse and fiction of such diverse writers as Sor Juana Inés de la Cruz, Mariano Azuela, Xavier Villaurrutia, and Octavio Paz. Written by a host of leading scholars, this History also devotes special attention to the lasting significance of colonialism and multiculturalism in Mexican literature. This book is of pivotal importance to the development of Mexican writing and will serve as an invaluable reference for specialists and students alike.

Between Camp and Cursi examines the role of humor in portrayals of homosexuality in contemporary Mexican literature. Brandon P. Bisbey argues that humor based on camp and cursilería—a form of "bad taste" that expresses a sense of social marginalization—is used to represent key social conflicts and contradictions of modernity in Mexico. Combining perspectives from queer theory, humor theory, and Latin American cultural studies, Bisbey looks at a corpus of canonical and lesser-known texts that treat a range of topics relevant to contemporary discussions of gender, sexuality, race, and human rights in Mexico—including sex work, transvestitism, bisexuality, same-sex marriage, racism, classism, and homophobic and transphobic violence. Emphasizing the subversive possibilities of the comic, Between Camp and Cursi considers how this body of twentieth- and twenty-first-century literature has challenged heteronormativity in Mexico and wrestled more broadly with both the colonial underpinnings of modernity and hegemonic Western gender norms.