Richard Rodriguez

This important new collection of interdisciplinary essays sets out to chart the cultural construction of "ethnicity" as embodied in American ethnic literature. Looking at a diverse set of texts, the contributors place the subject in broad historical and dynamic contexts, focusing on the larger systems within which ethnic distinctions emerge and obtain recognition. It provides a new critical framework for understanding not only ethnic literature, but also the underlying psychological, historical, social, and cultural forces. Table of Contents: On the Fourth of July in Sitka, Ishmael Reed. Introduction: The Invention of Ethnicity, Werner Sollors. An American Writer, Richard Rodriguez. A Plea for Fictional Histories and Old-Time "Jewesses", Alide Cagidemetrio. Ethnicity as Festive Culture: Nineteenth-Century German-America on Parade, Kathleen Conzen. Defining the Race, 1890-1930, Judith Stein. Anzia Yezierska and the Making of an Ethnic American Self, Mary Dearborn. Deviant Girls and Dissatisfied Women: A Sociologist's Tale, Carla Cappeti. Ethnic Trilogies: A Genealogical and Generational Poetics, William Boelhower. Blood in the Market Place: The Business of Family in the Godfather Narratives, Thomas Ferraro. Comping for Count Basie, Albert Murray. Is Ethnicity Obsolete, Ishmael Reed, Andrew Hope, Shawn Wong, and Bob Callahan.

-- Brings together the best criticism on the most widely read poets, novelists, and playwrights
-- Presents complex critical portraits of the most influential writers in the English-speaking world -- from the English medievalists to contemporary writers

In the past ten years, literature by U.S. Latinos has gained an extraordinary public currency and has engendered a great deal of interest among educators. Because of the increase in numbers of Latinos in their classrooms, teachers have recognized the benefits of including works by such important writers as Sandra Cisneros, Julia Alvarez, and Rudolfo Anaya in the curriculum. Without a guide, introducing courses on U.S. Latino literature or integrating individual works into the general courses on American Literature can be difficult for the uninitiated. While some critical sources for students and teachers are available, none are dedicated exclusively to this important body of writing. To fill the gap, the editors of this volume commissioned prominent scholars in the field to write 18 essays that focus on using U.S. Latino literature in the classroom. The selection of the subject texts was developed in conjunction with secondary school teachers who took part in the editors' course. This resultant volume focuses on major works that are appropriate for high school and undergraduate study including Judith Ortiz Cofer's The Latin Deli, Piri Thomas' Down These Mean Streets, and Cisneros' The House on Mango Street.

This work explores the "authority" of autobiography in several related senses: first, the idea that autobiography is authoritative writing because it is presumably verifiable; second, the idea that one's life is one's exclusive textual domain; third, the idea that, because of the apparent congruence between the implicit ideology of the genre and that of the nation, autobiography has a special prestige in America. Aware of the recent critiques of the notion of autobiography as issuing from, determined by, or referring to a pre-existing self, Couser examines the ways in which the authority of particular texts is called into question--for example, because they involve pseudonymity (Mark Twain), the revision of a presumably spontaneous form (Mary Chesnut's Civil War "diaries"), bilingual authorship (Richard Rodriguez and Maxine Hong Kingston), collaborative production (Black Elk), or outright fraud (Clifford Irving's "autobiography" of Howard Hughes). Couser examines both the way in which canonical autobiographers may playfully and purposely undermine their own narrative authority and the way in which minority writers' control of their lives may be compromised. Autobiography, then, is portrayed here as an arena in which individuals struggle for self-possession and self-expression against the constraints of language, genre, and society.

Paul John Eakin's earlier work Fictions in Autobiography is a key text in autobiography studies. In it he proposed that the self that finds expression in autobiography is in fundamental ways a kind of fictive construct, a fiction articulated in a fiction. In this new book Eakin turns his attention to what he sees as the defining assumption of autobiography: that the story of the self does refer to a world of biographical and historical fact. Here he shows that people write autobiography not in some private realm of the autonomous self but rather in strenuous engagement with the pressures that life in culture entails. In so demonstrating, he offers fresh readings of autobiographies by Roland Barthes, Nathalie Sarraute, William Maxwell, Henry James, Ronald Fraser, Richard Rodriguez, Henry Adams, Patricia Hampl, John Updike, James McConkey, and Lillian Hellman. In the introduction Eakin makes a case for reopening the file on reference in autobiography, and in the first chapter he establishes the complexity of the referential aesthetic of the genre, the intricate interplay of fact and fiction in such texts. In subsequent chapters he explores some of the major contexts of reference in autobiography: the biographical, the social and cultural, the historical, and finally, underlying all the rest, the somatic and temporal dimensions of the lived experience of identity. In his discussion of contemporary theories of the self, Eakin draws especially on cultural anthropology and developmental psychology.

"Paula Moya's "Learning from Experience is a work of critical intelligence that redefines entire areas of contemporary literary studies, ethnic studies, and feminist studies. Her analyses genuinely illuminate rather than simply reflect an assimilation to critical commonplaces."--Jose David Saldivar, author of "Border Matters: Remapping American Cultural Studies

"In this volume, Paula Moya provides a comprehensive and astute reading of Chicana literature and literary criticism, as well as an important critique of postmodern theory as it bears on literary criticism and especially the debates over experience, social identity and multiculturalism. Moya is one of the most original and powerful new voices in feminist and postcolonial theory today, offering a needed corrective of some of the current dogmatisms in social theory. "Learning from Experience offers a refreshing new take on the debates over experience, . . . I doubt its importance can be overestimated."--Linda Martin Alcoff, author of "Real Knowing: New Versions of the Coherence Theory

""Learning from Experience is a refreshingly provocative and incisively written work that challenges fashionable dismissals of identity politics. In so doing it reaffirms the primacy of discursive and socio-political contexts and the epistemic value of experience. Moya's stimulating work has much to offer."--Rosaura Sanchez, author of "Telling Identities, and most recently co-author with Beatrice Pita of "Conflicts of Interest: The Letters of Maria Amparo Ruiz de Burton