Border Transits: Literature and Culture across the Line. by Ana M. Manzanas

By Ana M. Manzanas

What constitutes a border state of affairs? How translatable and "portable" is the border? What are the borders of phrases surrounding the border? In its 5 sections, Border Transits: Literature and tradition around the Line intends to handle those matters because it brings jointly visions of border dynamics from either side of the Atlantic Ocean. the amount opens with "Part I: (B)orders and contours: A Theoretical Intervention," which explores the circle and the move as spatial configurations of 2 contradictory urges, to split and divide at the one hand, and to welcome and make allowance passage at the different. "Part II: Visions of the Mexican-US Border" zooms in onto the Mexican-United States border because it delves into the border transits among the 2 neighboring international locations. yet what occurs once we situate the border at the cultural terrain? How good does the border shuttle? "Part III: Cultural Intersections" expands the border stumble upon because it bargains with the several ways that texts are encoded, registered, appropriated, mimicked and reworked in different cultural texts. "Part IV: Trans-Nations," addresses cases of trans-American kin stemming from reports of up-rooting and intercultural contacts within the context of mass-migration and migratory flows. ultimately, "Part V: Trans-Lations," offers with the ways that the cultural borderlands suffuse different discourses and cultural practices. the amount is of curiosity for students and researchers within the box of Border experiences, Chicano stories, "Ethnic Studies," in addition to American Literature and tradition

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They are not the antithetical terms of a ritual of cutting, but of another ritual, of unmending perhaps, based on the notion that contacts and crossings across the line and within and without the circle are crucial sites to investigate and generate identities and the different manners of living and leaving, of rooting and routing. Endnotes 1 2 3 4 5 Ana Mª Manzanas acknowledges the support of The Ministerio de Educación y Ciencia for the research project “Critical History of Ethnic American Literature” (references BFF2003-07004 and HUM2006-04919), as well as the financial backing of the Junta de Castilla y León for the project “Borders, Identities and Mestizaje” (reference SA048A06).

For, in Owens’s argument, the frontier is the zone of the trickster, “a shimmering, always changing zone of multifaceted contact within which every utterance is challenged and interrogated, all referents put into question” (1998: Circles and Crosses 23 26), all values and signifiers crossed. The self becomes the “Other,” the “Other” becomes the self; phallic verticality turns into a curvaceous line; morbid rigidity turns into elasticity; the rituals of cutting turn into the rituals of unmending; Terminus is not terminated.

Chuy leaves and is killed in a street fight, not before taking a last look at his reflection in the mirror as he winks at his father. Thus Chuy is fixed at the crossroads between the past and the present, the real and the imagined, the tangible and the intangible, right at the liminal space where he can intervene and recede in and out of his father’s life. Fully immersed in Fierro’s intimacy, the alien woman brings the family scene to an end with her pounding on the door announcing breakfast was served.

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