Abstract
This essay traces Jose Esteban Munoz’s critical contributions to Caribbean studies. By paying particular attention to his commitment to futurity, Ruiz suggests that the hispanophone Caribe’s “all-overness,” its subjectivity on the move, is at the heart of Munoz’s critical vision of temporality. Through readings of the revolutionary performances of excess by Carmelita Tropicana, La Lupe, and Dolores “Lolita” Lebron Sotomayor, the author explores the relationship between aesthetics and politics and the potential of anticolonial horizons.
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