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Together with the late Jorge Luis Borges, Gabriel García Márquez, the 1982 Nobel laureate, stands at the pinnacle of Latin American literature. His work, in the words of Julio Ortega, "contains its own 'deconstructive' force—a literary power capable of reshaping natural order and rhetorical tradition in order to 'carnivalize' the Borges' library and allow us to hear the voices—and the laughter—of a culture, that of Latin America." This reshaping force invites us to read the works of García Márquez in a new way, one that bypasses the traditional, inadequate approaches through Latin American politics, history, and "magical realism."

In Gabriel García Márquez and the Powers of Fiction, noted scholars Julio Ortega, Ricardo Gutiérrez Mouat, Michael Palencia-Roth, Aníbal González, and Gonzalo Díaz-Migoyo offer English-speaking readers a new approach to García Márquez's work. Their poststructuralist readings focus on the peculiar sign-system, formal configuration, intradiscursivity, and unfolding representation in the novels One Hundred Years of Solitude, No One Writes to the Colonel, In Evil Hour, The Autumn of the Patriarch, and Chronicle of a Death Foretold and in several of the author's short stories. Also included as an appendix is a translation of García Márquez's Nobel Prize acceptance speech, "The Solitude of Latin America."

Reasserts the centrality of Jewish culture to contemporary discussions of diaspora

Diaspora: the scattering of a people, often described as a condition of helplessness and a pathology to be overcome. It can also be, as Jonathan Boyarin and Daniel Boyarin assert in this provocative work, a unique source of power and strength. Focusing on Jewish experience, Powers of Diaspora forcefully argues that diasporic communities exercise a distinct form of cultural power in order to maintain themselves.

How five dissident poets applied Surrealism to everyday life under totalitarian rule

A collective biography of the Surrealist group Infra Noir, Powers of No reveals an important chapter in the history of the postwar European avant-garde. Detailing the group’s innovative program for cultivating community and political resistance, Catherine L. Hansen examines how its five members reimagined Surrealism as a means to endure life under totalitarianism and war.

Encompassing the careers and friendships of Gherasim Luca, Gellu Naum, Trost, Paul Păun, and Virgil Teodorescu, Powers of No is the first English-language book about this Francophone Romanian group active between 1941 and 1947. The members of Infra Noir created radical art and publications that attracted the attention of André Breton and other central figures in the wider Surrealist movement. Charting their course from the Bucharest avant-garde amid the rising tide of fascism through the turbulent intellectual and political scene of postwar France and Stalinist repression, Hansen unpacks the concepts this group developed, which envisioned new possibilities for emancipatory thought and praxis.

Grounded in a wealth of archival materials and original translations, Powers of No situates the unique legacy of Infra Noir’s revolutionary project among the various intellectual currents of a tumultuous era. Establishing Infra Noir as more than an obscure clique of dissident poets and artists, this book presents their work as a repertoire of lessons for resisting authoritarian oppression and avoiding despair even under the harshest political conditions.

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These seven critical essays, each on a twentieth-century novelist, are disparate in content, but all are concerned with the problem of evil and inhumanity and with the paradoxes of human existence.

Each essay discusses a different author, but this independence of subject is resolved into a central theme through the interpretive approach followed by the seven critics. Each of the contributors presents his subject against the background of the current disillusionment and frustration of our age. Underlying each essay are undertones of the "absurdity" of life today for those who consider it thoughtfully, and the contrast between what men would like reality to be and what they actually find.

This unity of theme—the problem of evil, of inhumanity, of meaninglessness, the concern for the human being and his future—is developed in an interesting manner. It was exploited in different ways by the seven modern novelists discussed in the essays, and it is presented with different analytical techniques by the seven critics. Yet the reader senses the unity of feeling and purpose amid the diversity of fictional content and critical evaluation.

Besdies the interpretive Introduction by Thomas B. Whitbread, the book contains the following essays:

• R. W. Lewis, "The Conflicts of Reality: Cozzens' The Last Adam"
• Alan Friedman, "The Pitching of Love's Mansion in the Tropics of Henry Miller"
• Roger D. Abrahams, "Androgynes Bound: Nathanael West's Miss Lonelyhearts"
• George Clark, "An Illiberal Education: William Golding's Pedagogy"
• Vance Ramsey, "From Here to Absurdity: Heller's Catch-22"
• Anthony Channell Hilfer, "George and Martha: Sad, Sad, Sad"
• Robert G. Twombly, "Hubris, Health, and Holiness: The Despair of J. F. Powers"