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The first in-depth study in English to analyze post-utopian historical novels written during and in the wake of brutal Latin American dictatorships and authoritarian regimes

During neoliberal reforms in the 1980s and 1990s, murder, repression, and exile had reduced the number of intellectuals and Leftists, and many succumbed to or were coopted by market forces and ideologies. The opposition to the economic violence of neoliberal projects lacked a united front, and feasible alternatives to the contemporary order no longer seemed to exist. In this context, some Latin American literary intellectuals penned post-utopian historical novels as a means to reconstruct memory of significant moments in national history. Through the distortion and superimposition of distinct genres within the narratives, authors of post-utopian historical novels incorporated literary, cultural, and political traditions to expose contemporary challenges that were rooted in unresolved past conflicts.

In Anything but Novel, Jennie Irene Daniels closely examines four post-utopian novels—César Aira’s Ema, la cautiva, Rubem Fonseca’s O Selvagem da Ópera, José Miguel Varas’s El correo de Bagdad, and Santiago Páez’s Crónicas del Breve Reino—to make their contributions more accessible and to synthesize and highlight the literary and social interventions they make. Although the countries the novels focus on (Argentina, Brazil, Chile, and Ecuador) differ widely in politics, regime changes, historical precedents, geography, and demographics, the development of a shared subgenre among the literary elite suggests a common experience and interpretation of contemporary events across Latin America. These novels complement one another, extending shared themes and critiques.

Daniels argues the novels demonstrate that alternatives exist to neoliberalism even in times when it appears there are none. Another contribution of these novels is their repositioning of the Latin American literary intellectuals who have advocated for the marginalized in their societies. Their work has opened new avenues and developed previous lines of research in feminist, queer, and ethnic studies and for nonwhite, nonmale writers.

In Castings, Guy Rotella examines the work of five important poets who have engaged in that effort: Elizabeth Bishop, Robert Lowell, James Merrill, Derek Walcott, and Seamus Heaney. Considering their wider careers as well as particular poems--including Bishop's "The Monument," Lowell's "For the Union Dead," Merrill's "Bronze," Walcott's "The Sea Is History," and Heaney's "In Memoriam Francis Ledwidge"--Rotella argues that these writers are less concerned with defending or condemning monuments than with pursuing ancient and current debates about the political, aesthetic, and broadly cultural issues that monuments condense. Among these concerns are the competing claims of life and art, persistence and change, meaning and meaninglessness, the self and society, and the governing and the governed.

Original and provocative, Rotella's readings will make us ponder how the human impulse to build to last, to reify our culturally derived and ideologically driven faiths, might coexist with those other creeds of our place and time: relativism, multiculuralism, and diversity.

Decolonial Topophilia: Nature, Place, and History in Puerto Rican Poetry examines how four major poets—Luis Lloréns Torres, Luis Palés Matos, Juan Antonio Corretjer, and Julia de Burgos—address the ecological and human consequences of colonial domination in early twentieth-century Puerto Rico. Their poetry raises questions about the capitalist transformation of land through monocultures like sugarcane, the reduction of nature to exploitable resources, and the ties between attachment to place and nationalism. In tracing these connections, this pathbreaking book reveals how poetic visions of place can challenge colonial histories and imagine more reciprocal ways of inhabiting the world.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

What if we didn’t always historicize when we read Victorian fiction?

Perhaps perversely, Lost Causes suggests simultaneously that psychoanalysis speaks pressingly to the vexed relationship between history and narrative, and that the theory is neither a- nor anti-historical. Through his readings of Victorian fiction addressing the recent past, Jones finds in psychoanalysis not a set of truths, but rather a method for rhetorical reading, ultimately revealing how its troubled account of psychic causality can help us follow literary language’s representation of the real. Victorian narratives of the recent past and psychoanalytic interpretation share a fascination with effects that persist despite baffling, inexplicable, or absent causes.

In chapters focusing on Thomas Carlyle, Charles Dickens, Charlotte Brontë, and George Eliot, Lost Causes demonstrates that history can carry an ontological, as well as an epistemological, charge—one that suggests a condition of being in the world as well as a way of knowing the world as it really is. From this point of view, Victorian fiction that addresses the recent past is not a failed realism, as it is so frequently claimed, but rather an exploration of possibility in history.

In Nadine Gordimer's view, the novel can present history as historians cannot. Moreover, this presentation is not fictional in the sense of being “untrue.” Rather, fiction deals with an area of activity usually inaccessible to the sciences of greater externally: the area in which historical process is registered as the subjective experience of individuals in society; fiction give us “history from the inside.” Gordimer's novels give us an extraordinary and unique insight into historical experience in the period in which she writes.