By Michael J. Meyer
Literature and the author was once first conceived with the wish the essays might make clear a number of dimensions of the authorial craft. It was once the wish of the editor that the chosen essays could research not just writers’ number of vocabulary, but additionally their planned number of grammatical buildings and be aware order and their seamless weaving jointly of plots and imagery. additionally, the analyses could additionally draw cognizance to how the writing strategy affects the improvement of characters and the formula of thematic strands in fiction. therefore, a wide selection of authors are intentionally chosen to provide the textual content intensity: writers of renowned fiction in addition to sleek classics are incorporated, and contrasts are proven among conventional writers and people who like to stick to experimental developments. Modernists are set opposed to postmodernists, absurdists vs. realists, minority ethnicities vs. majority cultures, and dominant genders seem unlike subordinated ones. in actual fact, the main guiding principle of the gathering is that the writing occupation offers an never-ending trouble that merits to be explored in additional aspect as readers try and confirm how authorial voices confuse whereas at the same time elucidating their viewers, how texts are developed through authors and but deconstructed through the very phrases they decide to contain, how silence capabilities as inaudible but audible discourse; and the way authorial self-concept shapes not just itself yet can also be echoed within the fictional characters / writers who seem within the texts.
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Extra info for Literature and the Writer
A fifteen year period of silence characterizes Garro’s literary production. While some critics divide Garro’s work into two periods (1958–1964 and 1979 onward), others such as Rhina Toruño-Castañeda, believe that Garro never stopped writing although she did stop publishing. Toruño-Casteñeda explains that Garro was not able to publish because of censorship from two centers of power: the government (because of her alleged participation in a plot against the government and her outspoken support for the peasants) and her ex-husband Octavio Paz and his group of supporters.
This represents power! … Hah! ] Since the gems are synonymous with the Royal Scepter, which in turn represents the power of a monarch, Diego’s words reinforce the idea that whoever possesses the gem words has enormous power. Fredegunda, Lelinca, Lucía or any woman writer who gains control of the gem words presents a serious threat to patriarchal authority, the “he” that threatens Lelinca and the next generation of women (writers) embodied in Lucía. Lelinca is fleeing with Lola from Fredegunda’s fate and at the same time from Lola to escape the violent death of the queen.
Interestingly, in the story “La primera vez que me vi,” not analyzed in this essay, Lelinca and her daughter are living in an isolated house near the seaside in the United States. 12 Susan Gubar, “The Blank Page and the Issue of Female Creativity,” in The New Feminist Criticism: Essays on Women, Literature and Theory, edited by Elaine Showalter (New York: Panteon Books, 1985), 153–164. 10 28 Marketta Laurila Lelinca’s double crime, female authorship and the creation of purely aesthetic texts, is both secret and public.
Literature and the Writer by Michael J. Meyer