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By Elena Machado Sáez
In Market Aesthetics, Elena Machado Sáez explores the recognition of Caribbean diasporic writing inside an interdisciplinary, comparative, and pan-ethnic framework. She contests tested readings of authors similar to Junot Díaz, Julia Alvarez, Edwidge Danticat, and Robert Antoni whereas showcasing the paintings of rising writers akin to David Chariandy, Marlon James, and Monique Roffey. via studying those writers as a part of a transnational literary pattern instead of inside remoted nationwide ethnic traditions, the writer is ready to express how this fiction adopts industry aesthetics to have interaction the combined advantages of multiculturalism and globalization through the subjects of gender and sexuality.
New global StudiesModern Language Initiative
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Extra resources for Market Aesthetics: The Purchase of the Past in Caribbean Diasporic Fiction
Sample text
The ethical relationship that Caribbean diasporic writers strive to build with imagined readerships is one that requires a certain intimacy 40â•… Mixed Blessings that is impossible. The ethical project is challenged by the impossibility of understanding the reader, the impossibility of closeness to the reader, so that an ethical relationship is being pursued and foreclosed by the impossibility of knowing this Other, the reader. It is a necessary ethical impossibility that the narratives accept; after all, that type of invasive understanding is what the novels see as a dangerous by-product of multiculturalist market demands.
The ethical relationship that Caribbean diasporic writers strive to build with imagined readerships is one that requires a certain intimacy 40â•… Mixed Blessings that is impossible. The ethical project is challenged by the impossibility of understanding the reader, the impossibility of closeness to the reader, so that an ethical relationship is being pursued and foreclosed by the impossibility of knowing this Other, the reader. It is a necessary ethical impossibility that the narratives accept; after all, that type of invasive understanding is what the novels see as a dangerous by-product of multiculturalist market demands.
Graham Huggan’s The Postcolonial Exotic (2001) addresses postcolonialism as a “critical industry” (4) whose “rhetoric of resistance” (6) “emerges as a commodified vehicle of symbolic power” (29). ” In other words, academic fields analyzing globalization as a system echo the conceptual problematics that they define as endemic to globalization. According to Huggan, “Three aspects of commodity fetishism—mythification (or levelling-out) of historical experience; imagined access to the cultural other through the process of consumption; reification of people and places into exchangeable aesthetic objects—help [postcolonial] books and their authors acquire an almost talismanic status” (19).