Monthly Archives: November 2011

Post #30

When I first began to read Severo Sarduy’s novel Cobra and Maitreya, I was astonished by Cobra’s need to make her feet smaller. As the narrator states, She’d set them in molds at daybreak, apply salt compresses, chastise them sith … Continue reading

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Post #29

When we first began the discussion in class of Sesshu Foster’s novel Atomix Aztex, we heavily analyzed Foster’s Note in the beginning of the novel where he wants his audience to know that his book is a work of fiction, … Continue reading

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Post #28

Salvador Plascencia’s novel can seem to have many different focalizing points. For example, when Plascencia gives each character power as a narrator in the parts of the books that have columns and lines, these characters are internal focalizers. Although, Plascencia … Continue reading

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Post #27

While reading Salvador Plascencia’s People of Paper, Gabriel García Márquez’s short story A Very Old Man with Enormous Wings came to mind because while Froggy is depicting the story of his break-up with Sandra and going to a curandero, the … Continue reading

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Post #26

Manfred Jahn states that, isochronous presentation (‘of equal duration’; also congruent presentation, isochrony), [is] story time and discourse time [that] are approximately equal or rhythmically mapped. (Jahn N5.2.3) Finding isochronous presentations in novels are not difficult to come by because … Continue reading

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Post #25

Time becomes a very important theme in Salvador Plascencia’s novel because every narrator within the text some sort of reference to time such as the Glue Sniffer who states, “After Misueño and I left the lead shell, I continued Federico … Continue reading

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Post #24

In Severo Sarduy’s Cobra and Maitreya, Sarduy uses what Manfred Jahn calls, Pragmatic signals [which are] expressions that signal the narrator’s awareness of an audience and the degree of his/her orientation towards it. Verbal storytelling, like speaking in general, takes … Continue reading

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Post #23

According to Manfred Jahn, [An] unreliable narrator [is] a narrator “whose rendering of the story and/or commentary on it the reader has reasons to suspect. […] The main sources of unreliability are the narrator’s limited knowledge, his personal involvement, and … Continue reading

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Post #22

In Sesshu Fosters’ novel, Atomik Aztex, we are so unexpectedly thrown into a rapid spiral of confusion and incredulity. First, because we are introduced to the narrator, Zenzontli, who from the beginning divulges that, “[…] I am getting fucked in … Continue reading

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Post #21

According to Manfred Jahn, there are different forms in which a narrator can project his voice. One example of a projective narrative voice, which can be seen through what Jahn calls “voice markers,” is content matter. Jahn states, “Content matter[:] … Continue reading

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