In 1899, the United Fruit Company (UFCO) was officially incorporated in Boston, Massachusetts, beginning an era of economic, diplomatic, and military interventions in Central America. This event marked the inception of the struggle for economic, political, and cultural autonomy in Central America as well as an era of homegrown inequities, injustices, and impunities to which Central Americans have responded in creative and critical ways. This juncture also set the conditions for the creation of the Transisthmus—a material, cultural, and symbolic site of vast intersections of people, products, and narratives.

Taking 1899 as her point of departure, Ana Patricia Rodríguez offers a comprehensive, comparative, and meticulously researched book covering more than one hundred years, between 1899 and 2007, of modern cultural and literary production and modern empire-building in Central America. She examines the grand narratives of (anti)imperialism, revolution, subalternity, globalization, impunity, transnational migration, and diaspora, as well as other discursive, historical, and material configurations of the region beyond its geophysical and political confines.

Focusing in particular on how the material productions and symbolic tropes of cacao, coffee, indigo, bananas, canals, waste, and transmigrant labor have shaped the transisthmian cultural and literary imaginaries, Rodríguez develops new methodological approaches for studying cultural production in Central America and its diasporas.

Monumental in scope and relentlessly impassioned, this work offers new critical readings of Central American narratives and contributes to the growing field of Central American studies.

A long-awaited corrective to the controversial idea of world literature, from a major voice in the field.

Katerina Clark charts interwar efforts by Soviet, European, and Asian leftist writers to create a Eurasian commons: a single cultural space that would overcome national, cultural, and linguistic differences in the name of an anticapitalist, anti-imperialist, and later antifascist aesthetic. At the heart of this story stands the literary arm of the Communist International, or Comintern, anchored in Moscow but reaching Baku, Beijing, London, and parts in between. Its mission attracted diverse networks of writers who hailed from Turkey, Iran, India, and China, as well as the Soviet Union and Europe. Between 1919 and 1943, they sought to establish a new world literature to rival the capitalist republic of Western letters.

Eurasia without Borders revises standard accounts of global twentieth-century literary movements. The Eurocentric discourse of world literature focuses on transatlantic interactions, largely omitting the international left and its Asian members. Meanwhile, postcolonial studies have overlooked the socialist-aligned world in favor of the clash between Western European imperialism and subaltern resistance. Clark provides the missing pieces, illuminating a distinctive literature that sought to fuse European and vernacular Asian traditions in the name of a post-imperialist culture.

Socialist literary internationalism was not without serious problems, and at times it succumbed to an orientalist aesthetic that rivaled any coming from Europe. Its history is marked by both promise and tragedy. With clear-eyed honesty, Clark traces the limits, compromises, and achievements of an ambitious cultural collaboration whose resonances in later movements can no longer be ignored.

Oscar and Lilian Handlin show us how the new voyagers in the twentieth century--from Asia, Africa, Australia, and Latin America--record their experiences in the United States. The narratives of the non-Europeans, they find, clearly reflect the circumstances of their composition, as well as the political prejudices of their authors. These literary products have earned far less attention than those of the English, French, Germans, and Russians, and this volume proposes to redress the balance.

The earliest of the thirty-one travel accounts was written by Rabindranath Tagore in 1924, and the most recent by V. S. Naipaul in 1989. Many accounts are newly translated from Arabic, Persian, Hebrew, and Spanish. Some authors are well known, but the less famous are equally insightful. Some insights are weighty, many are amusing. Octavio Paz, a sympathetic observer who admired his country's neighbor, was uneasy that the most powerful country in the world sustained "a global ideology…as outdated as the doctrine of free enterprise, the steam boat, and other relics of the nineteenth century." The Israeli journalist Hanoch Bartov observed that "God conceived the car first, with man an afterthought, created for the car's use (a Southern California legend)." In coming to a truer understanding of the United States, these writers noted the frightening repercussions of unsettled lives, perceived class differentiation, contentions regarding the status of women, the sense of national unity amid diversity, and countless other issues of concern to those who try to find meaning in the contemporary world.

The literary archive of the U.S.-Mexican War (1846–1848) opens to view the conflicts and relationships across one of the most contested borders in the Americas. Most studies of this literature focus on the war's nineteenth-century moment of national expansion. In The Literatures of the U.S.-Mexican War, Jaime Javier Rodríguez brings the discussion forward to our own moment by charting a new path into the legacies of a military conflict embedded in the cultural cores of both nations.

Rodríguez's groundbreaking study moves beyond the terms of Manifest Destiny to ask a fundamental question: How do the war's literary expressions shape contemporary tensions and exchanges among Anglo Americans, Mexicans, and Mexican Americans. By probing the war's traumas, anxieties, and consequences with a fresh attention to narrative, Rodríguez shows us the relevance of the U.S.-Mexican War to our own era of demographic and cultural change. Reading across dime novels, frontline battle accounts, Mexican American writings and a wide range of other popular discourse about the war, Rodríguez reveals how historical awareness itself lies at the center of contemporary cultural fears of a Mexican "invasion," and how the displacements caused by the war set key terms for the ways Mexican Americans in subsequent generations would come to understand their own identities. Further, this is also the first major comparative study that analyzes key Mexican war texts and their impact on Mexico's national identity.

Over the last five centuries, the story of the Americas has been a story of the mixing of races and cultures. Not surprisingly, the issue of miscegenation, with its attendant fears and hopes, has been a pervasive theme in New World literature, as writers from Canada to Argentina confront the legacy of cultural hybridization and fusion.

This book takes up the challenge of transforming American literary and cultural studies into a comparative discipline by examining the dynamics of racial and cultural mixture and its opposite tendency, racial and cultural disjunction, in the literatures of the Americas. Editors Kaup and Rosenthal have brought together a distinguished set of scholars who compare the treatment of racial and cultural mixtures in literature from North America, the Caribbean, and Latin America. From various angles, they remap the Americas as a multicultural and multiracial hemisphere, with a common history of colonialism, slavery, racism, and racial and cultural hybridity.

This book, the first of its kind in English, examines the reinvention of loyalism in colonial Taiwan through the lens of literature. It analyzes the ways in which writers from colonial Taiwan—including Qiu Fengjia, Lian Heng, Wu Zhuoliu, and others—creatively and selectively employed loyalist ideals to cope with Japanese colonialism and its many institutional changes. In the process, these writers redefined their relationship with China and Chinese culture.

Drawing attention to select authors’ lesser-known works, author Chien-hsin Tsai provides a new assessment of well-studied historical and literary materials and a nuanced overview of literary and cultural productions in colonial Taiwan. During and after Japanese colonialism, the islanders’ perception of loyalism, sense of belonging, and self-identity dramatically changed. Tsai argues that the changing tradition of loyalism unexpectedly complicates Taiwan’s tie to China, rather than unquestionably reinforces it, and presents a new line of inquiry for future studies of modern Chinese and Sinophone literature.

In The Senses of Democracy, Francine R. Masiello traces a history of perceptions expressed in literature, the visual arts, politics, and history from the start of the nineteenth century to the present day. A wide transnational landscape frames the book along with an original and provocative thesis: when the discourse on democracy is altered—when nations fall into crisis or the increased weight of modernity tests minds and nerves—the representation of our sensing bodies plays a crucial role in explaining order and rebellion, cultural innovation, and social change.

Taking a wide arc of materials—periodicals, memoirs, political proclamations, and travel logs, along with art installations and fiction—and focusing on the technologies that supplement and enhance human perception, Masiello looks at the evolution of what she calls “sense work” in cultural texts, mainly from Latin America, that wend from the heights of romantic thought to the startling innovations of modernism in the early twentieth century and then to times of posthuman experience when cyber bodies hurtle through globalized space and human senses are reproduced by machines. Tracing the shifting debates on perceptions, The Senses of Democracy offers a new paradigm with which to speak of Latin American cultural history and launches a field for the comparative study of bodies, experience, pleasure, and pain over the continental divide. In the end, sense work helps us to understand how culture finds its location.

The sixteen-volume Handbook of Middle American Indians, completed in 1976, has been acclaimed the world over as the single most valuable resource ever produced for those involved in the study of Mesoamerica. When it was determined in 1978 that the Handbook should be updated periodically, Victoria Reifler Bricker, well-known cultural anthropologist, was elected to be general editor.

This third volume of the Supplement is devoted to the aboriginal literatures of Mesoamerica, a topic receiving little attention in the original Handbook. According to the general editor, "This volume does more than supplement and update the coverage of Middle American Indian literatures in the Handbook. It breaks new ground by defining the parameters of a new interdisciplinary field in Middle American Indian studies."

The aim of the present volume is to consider literature from five Middle American Indian languages: Nahuatl, Yucatecan Maya, Quiche, Tzotzil, and Chorti. The first three literatures are well documented for both the Classical and Modern variants of their languages and are obvious candidates for inclusion in this volume. The literatures of Tzotzil and Chorti, on the other hand, are oral, and heretofore little has been written of their genres and styles.

Taken together, these essays represent a substantial contribution to the Handbook series, with the volume editor's introduction placing in geographic perspective the five literatures chosen as representative of the Middle American literary tradition.

Xiao Hong, Yom Sang-sop, Abe Kobo, and Zhong Lihe—these iconic literary figures from China, Korea, Japan, and Taiwan all described Manchuria extensively in their literary works. Now China’s Northeast but a contested frontier in the first half of the twentieth century, Manchuria has inspired writers from all over East Asia to claim it as their own, employing novel themes and forms for engaging nation and empire in modern literature. Many of these works have been canonized as quintessential examples of national or nationalist literature—even though they also problematize the imagined boundedness and homogeneity of nation and national literature at its core.

Through the theoretical lens of literary territorialization, Miya Xie reconceptualizes modern Manchuria as a critical site for making and unmaking national literatures in East Asia. Xie ventures into hitherto uncharted territory by comparing East Asian literatures in three different languages and analyzing their close connections in the transnational frontier. By revealing how writers of different nationalities constantly enlisted transnational elements within a nation-centered body of literature, Territorializing Manchuria uncovers a history of literary co-formation at the very site of division and may offer insights for future reconciliation in the region.