By Ana Patricia Rodríguez
In 1899, the United Fruit corporation (UFCO) used to be formally integrated in Boston, Massachusetts, starting an period of financial, diplomatic, and army interventions in important the US. This occasion marked the inception of the fight for fiscal, political, and cultural autonomy in imperative the US in addition to an period of homegrown inequities, injustices, and impunities to which principal american citizens have answered in artistic and important methods. This juncture additionally set the stipulations for the construction of the Transisthmus—a fabric, cultural, and symbolic website of huge intersections of individuals, items, and narratives.
Taking 1899 as her element of departure, Ana Patricia Rodríguez bargains a entire, comparative, and meticulously researched ebook overlaying multiple hundred years, among 1899 and 2007, of recent cultural and literary creation and smooth empire-building in imperative the United States. She examines the grand narratives of (anti)imperialism, revolution, subalternity, globalization, impunity, transnational migration, and diaspora, in addition to different discursive, old, and fabric configurations of the sector past its geophysical and political confines.
Focusing particularly on how the fabric productions and symbolic tropes of cacao, espresso, indigo, bananas, canals, waste, and transmigrant exertions have formed the transisthmian cultural and literary imaginaries, Rodríguez develops new methodological methods for learning cultural creation in significant the US and its diasporas.
Monumental in scope and relentlessly impassioned, this paintings bargains new serious readings of primary American narratives and contributes to the turning out to be box of crucial American studies.
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Extra info for Dividing the Isthmus: Central American Transnational Histories, Literatures, and Cultures
S. imperialism in Central America, the collaboration of creole elites with foreign intervention, and the project of defining national identity in Costa Rican literature. It is also about the problem of unrequited love as experienced by another young criollo educated in France and returning to Costa Rica after a twenty-five-year absence. S. industrialist Mr. Crissey. At the end of the novel, unable to bear the loss of his love and his nation to the imperialist, Julio commits suicide by charging his horse into a moving train carrying the newlyweds.
Ramón Acevedo claims that, as such, it serves as the “punto de partida de toda una producción novelística centroamericana que culmina en nuestros días con la triología bananera de Asturias [point of departure for a production of Central American novels that culminate, in our days, with the banana trilogy of Miguel Ángel Asturias]” (1982, 75). El problema occupies a significant place not only in Costa Rican literary history but also in Central American literature for it initiates a genre that engages hemispheric and transisthmian issues.
S. Latina/o writers, including Ana Castillo (Sapogonia, 1990), Alejandro Murguía (Southern Front, 1990), Demetria Martínez (Mother Tongue, 1994), and Maya Chinchilla (“Solidarity Baby,” 2007). Fleeing the civil wars in the isthmus and seeking refuge in the United States in the 1980s, Central Americans joined an increasing critical mass of Latinas/os, who were also transformed by the presence of Central Americans. S. Latina/o population as a whole who connected with the plight of the isthmus. Aligning with the struggles of Central Americans during the 1980s, a score of authors began to produce a Latina/o transnational literature mobilized against the wars and interventions in Central America.