Malady and Genius: Self-Sacrifice in Puerto Rican Literature by Benigno Trigo

2017 ◽  
Vol 51 (3) ◽  
pp. 735-737
Author(s):  
Sergio Gutiérrez Negrón
Chasqui ◽  
1982 ◽  
Vol 11 (2/3) ◽  
pp. 56
Author(s):  
L. Howard Quackenbush ◽  
David William Foster

Author(s):  
Marc Zimmerman

This book explores U.S. Puerto Rican culture in past and recent contexts. The book presents East Coast, Midwest, and Chicago cultural production while exploring Puerto Rican musical, film, artistic, and literary performance. Working within the theoretical frame of cultural, postcolonial, and diasporic studies, the book relates the experience of Puerto Ricans to that of Chicanos and Cuban Americans, showing how even supposedly mainstream U.S. Puerto Ricans participate in a performative culture that embodies elements of possible cultural “Ricanstruction.” The book examines various dimensions of U.S. Puerto Rican artistic life, including relations with other ethnic groups and resistance to colonialism and cultural assimilation. To illustrate how Puerto Ricans have survived and created new identities and relations out of their colonized and diasporic circumstances, the book looks at the cultural examples of Latino entertainment stars such as Jennifer Lopez and Benicio del Toro, visual artists Juan Sánchez, Ramón Flores, and Elizam Escobar, as well as Nuyorican dancer turned Midwest poet Carmen Pursifull. It includes a comprehensive chapter on the development of U.S. Puerto Rican literature and a pioneering chapter on Chicago Puerto Rican writing. A final chapter considers Cuban cultural attitudes towards Puerto.


Author(s):  
Vanessa Pérez Rosario

This chapter studies the work of Puerto Rican, Dominican, and Cuban writers in the diaspora who inherited and extended Burgos's legacy in the contemporary public imaginary. Her legacy among queer, feminist, and diaspora writers highlights the challenge to the Puerto Rican literary canon, the cult of patriarchy, and the foundational myth of la gran familia in Puerto Rican literature, which began to decline in the 1970s. For groups traditionally omitted from the national imaginary, claiming Burgos offered a way to tap into the island's nationalistic impulses, shared history, and social memory. Moreover, in a cosmopolitan city such as New York, Burgos became a transnational Latina/o cultural icon. Reinventing, reimagining, and riffing off Burgos becomes a way for artists to voice their struggles for recognition and self-determination in New York, echoing the themes developed in her writing.


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