1986
DOI: 10.2307/40142787
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The Voice of the Masters: Writing and Authority in Modern Latin American Literature

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Cited by 4 publications
(4 citation statements)
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“…Emergence and Development of Latin American Dictator Novel Echevarrı´a (1985) traces the history of the Latin American dictator novel to the 16th Century when writers such as Bernal Diaz del Castillo and Francisco Lopez de Gomara wrote accounts of Corte's conquest of Mexico. He believes that Gomara's book was very close, in structural terms, to the contemporary Latin American dictator novel.…”
Section: Review Of Related Literaturementioning
confidence: 99%
“…Emergence and Development of Latin American Dictator Novel Echevarrı´a (1985) traces the history of the Latin American dictator novel to the 16th Century when writers such as Bernal Diaz del Castillo and Francisco Lopez de Gomara wrote accounts of Corte's conquest of Mexico. He believes that Gomara's book was very close, in structural terms, to the contemporary Latin American dictator novel.…”
Section: Review Of Related Literaturementioning
confidence: 99%
“…The return of late Caribbean surrealists to a time or a world before the plantation—which is, of course, includes the worlds and modes of living that came from Africa and survived through necessary alterations in the folds and amid the violence of the plantation—is a return to and perhaps a reworking of the ambivalent “birthing scene” of the Americas itself, of American disclosure and invention, if such a scene, as Roberto González Echeverría paints it, includes “a chronicler, possessed of writing, asking the native to unveil his or her secrets, and the native doing so, but only by gradually usurping the chronicler's place and turning the account of this confrontation into something quite different from what was intended” (Echeverría 1985, 123). What is important in this exchange is that power, while belonging to one side, is never fully stable or properly contained.…”
Section: Second Beginningsmentioning
confidence: 99%
“…Considering the implications of these riddles, Santí focuses on Sergio's fading literary aspirations and failing literary prospects. González Echevarría (1985) reflects Santí's position: "Desnoes's protagonist remains in Cuba but does not convert to the cause of the Revolution, perhaps because of the ironic realization that the gesture will also become literary, yet another break that will be 'consolable,' that will not effectively remain a present, but will become instead one more space in that selfless text of memory and of writing" (114). These are valuable insights into the complexity of the novel and the convolutions of Sergio's mind.…”
Section: An Inconsolable Memorymentioning
confidence: 99%
“…The primary cause for his inertia has been well explored (Menton 1975, Kernan 1975, Santí 1981, González Echevarría 1985: Sergio does not buy the promise of the revolution. This is the fault-line that so bedevilled film reviewers when the film was released in the US (Chanan 1990: 12).…”
Section: An Inconsolable Memorymentioning
confidence: 99%