Book contents
- The Cambridge History of Latina/o American Literature
- The Cambridge History of Latina/o American Literature
- Copyright page
- Dedication
- Contents
- Contributors
- Acknowledgements
- Chronology
- Introduction
- Part I Rereading the Colonial Archive
- Part II The Roots and Routes of Latina/o Literature
- Part III Negotiating Literary Modernity
- Part IV Literary Migrations across the Americas, 1980–2017
- 22 Undocumented Immigration in Latina/o Literature
- 23 Latina Feminist Theory and Writing
- 24 Invisible No More
- 25 Latina/o Life Narratives
- 26 Poetics of the “Majority Minority”
- 27 The Quisqueya Diaspora
- 28 Listening to Literature
- 29 Brazuca Literature
- 30 Staging Latinidad and Interrogating Neoliberalism in Contemporary Latina/o Performance and Border Art
- 31 Trans-American Popular Forms of Latina/o Literature
- 32 Trauma, Translation, and Migration in the Crossfire of the Americas
- 33 The Mesoamerican Corridor, Central American Transits, and Latina/o Becomings
- 34 Differential Visions
- 35 Temporal Borderlands
- Epilogue
- Bibliography
- Index
- References
28 - Listening to Literature
Popular Music, Voice, and Dance in the Latina/o Literary Imagination, 1980–2010
from Part IV - Literary Migrations across the Americas, 1980–2017
Published online by Cambridge University Press: 16 February 2018
Book contents
- The Cambridge History of Latina/o American Literature
- The Cambridge History of Latina/o American Literature
- Copyright page
- Dedication
- Contents
- Contributors
- Acknowledgements
- Chronology
- Introduction
- Part I Rereading the Colonial Archive
- Part II The Roots and Routes of Latina/o Literature
- Part III Negotiating Literary Modernity
- Part IV Literary Migrations across the Americas, 1980–2017
- 22 Undocumented Immigration in Latina/o Literature
- 23 Latina Feminist Theory and Writing
- 24 Invisible No More
- 25 Latina/o Life Narratives
- 26 Poetics of the “Majority Minority”
- 27 The Quisqueya Diaspora
- 28 Listening to Literature
- 29 Brazuca Literature
- 30 Staging Latinidad and Interrogating Neoliberalism in Contemporary Latina/o Performance and Border Art
- 31 Trans-American Popular Forms of Latina/o Literature
- 32 Trauma, Translation, and Migration in the Crossfire of the Americas
- 33 The Mesoamerican Corridor, Central American Transits, and Latina/o Becomings
- 34 Differential Visions
- 35 Temporal Borderlands
- Epilogue
- Bibliography
- Index
- References
Summary
This chapter explores how, since the 1980s, U.S. Latina/o writers of prose and poetry listen to and encode popular musical practice into their literary work. The making of sound consists of an “interrelation of materiality and metaphor” (Novak and Sakakeeny). That is, music and sound are not only vibration and pulse moving through air, bodies and other matter; they involve the methods we chose to document them. Authors including Marta Moreno Vega, Achy Obejas, Victor Hernandez Cruz, Terri de la Peña, Denise Chavez, and Cristy C. Road transcribe and theorize the sonic by way of fiction, poetry and/or the comic. Their works grapples with a diverse range of musical genres, their circulation, and the politics of reception. In sounding out the written verb that apprehends Hector Lavoe’s soneo, Pérez Prado’s grunt, or the imagined “salsa-flavored rock” of a Chicana music band, this chapter tackles theoretical concerns ranging from dance and embodiment to listening and fan cultural practices within diaspora.
- Type
- Chapter
- Information
- The Cambridge History of Latina/o American Literature , pp. 583 - 601Publisher: Cambridge University PressPrint publication year: 2018
References
Works Cited
Aparicio, Frances. Listening to Salsa: Gender, Latin Music and Puerto Rican Cultures. Hanover, NH: Wesleyan University Press, 1998.Google Scholar
Aparicio, Frances“The Poet as Earwitness: Reading Sound, Voice and Music in Tato Laviera’s Poetry.” The AmeRican Poet: Essays on the Work of Tato Laviera. New York: Center for Puerto Rican Studies, 2014.Google Scholar
Aparicio, Frances“Popular Music.” The Routledge Companion to Latina/o Literature. New York: Routledge, 2013.Google Scholar
Chavez, Denise. Loving Pedro Infante. New York: Washington Square Press, 2001.CrossRefGoogle Scholar
Chin, Berta and Morimoto, Lori. “Towards a Theory of Transcultural Fandom.” Participants: The Journal of Audience and Reception Studies 10.1 (2013).Google Scholar
Flores, Juan. From Bomba to Hip Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press, 2000.Google Scholar
Garcia, Cindy. Salsa Crossings: Dancing Latinidad in Los Angeles. Durham, NC: Duke University Press, 2013.Google Scholar
Gautier, Amina. “Aguanile.” Now We Will Be Happy. Lincoln: University of Nebraska Press, 2014.Google Scholar
Graf, Amara. “Mexicanized Melodrama: Sandra Cisneros’ Literary Translation of the Telenovela.” Label Me Latina/o: Journal of Twentieth and Twenty First Centuries Latina/o Literary Production (Fall 2014): 1–20.Google Scholar
Hernández-Cruz, Victor. “Listening to Arsenio Rodriguez is Moving Closer to Knowledge.” The Shadow of Al-Andalus. Minneapolis, MN: Coffee House Press, 2011.Google Scholar
Hernández-Cruz, Victor“La Lupe.” Maracas: New and Selected Poems: 1966–2000. Minneapolis, MN: Coffee House Press, 2001.Google Scholar
Jefferson, Margo. “Dancing into the Dream.” New York Times. August 1989. www.nytimes.com/books/99/02/21/specials/hijuelos-mambo.html, Accessed December 2015.Google Scholar
Laviera, Tato. Bendicion: The Complete Poetry of Tato Laviera. Houston, TX: Arte Public Press, 2014.Google Scholar
Macias, Anthony. Mexican-American Mojo: Popular Music, Dance and Urban Culture in Los Angeles, 1935–1968. Durham, NC: Duke University Press, 2008.Google Scholar
Murray Schafer, R. “Soundscapes and Earwitnesses.” Hearing History: A Reader. Athens: University of Georgia Press, 2004.Google Scholar
Novak, David and Sakakeeny, Matt. “Introduction.” Keywords in Sound. Durham, NC: Duke University Press, 2015.Google Scholar
Sandoval Sanchez, Alberto. José, Can You See?: Latinos on and off Broadway. Madison: University of Wisconsin Press, 1999.Google Scholar
Smith, Mark M. “Introduction: Onward to Audible Pasts.” Hearing History: A Reader. Athens: University of Georgia Press, 2004.Google Scholar
Vargas, Deborah. “Ruminations on Lo Sucio as a Latino Queer Analytic.” American Quarterly 66.3 (2014): 715–26.CrossRefGoogle Scholar
Vargas, Deborah“Un Desmadre Positivo: Notes on How Jenni Rivera Played Music.” Contemporary Latina/o Media: Production, Circulation, Politics. New York: New York University Press, 2014.Google Scholar
Vasquez, Alexandra. Listening in Detail: Performances of Cuban Music. Durham, NC: Duke University Press, 2014.Google Scholar
Wood, Elizabeth. “Sapphonics.”Queering the Pitch: New Gay and Lesbian Musicology. New York: Routledge, 2006.Google Scholar