44 WLT SEPTEMBER–OCTOBER 2016 special section Gulf Lit Mexico, the US South, and Cuba Guest-edited by Dolores Flores-Silva & Keith Cartwright featuring Jesús J. Barquet 47 Charo Guerra 48 Feliciano Sánchez Chan 49 LeAnne Howe 50 Jay Wright 52 Agustín del Moral Tejeda 53 Luis Lorente 57 Brenda Marie Osbey 58 José Luis Rivas 60 Bárbara Renaud González 61 Arturo Montoto (Cuba), En algún lugar de la ciudad, 2015, oil on canvas, 60x60 cm T he idea for this Gulf feature of World Literature Today goes back almost fifteen years to end-of-the-day conversations with my colleague (and co-editor of this section) Keith Cartwright in the building that some of Roanoke College’s English professors shared with my own Modern Languages Department. We talked about what our college’s first international students —coming from Choctaw Nation and Tamaulipas (Mexico) in the 1870s—might have discussed together as well as what might have kept them apart. I sometimes shared nostalgic stories of sirenas, cimarrones , curanderas, fiestas of carnaval and Todos Santos, as well as descriptions of music, dance, and food from my Veracruz home. Keith had no shortage of stories to share from his own souths, but he also mentioned stories by Kate Chopin, Zora Neale Hurston, and Eudora Welty that brought my own Gulf shores a little closer. Since we both teach Caribbean literatures, Cuba started to emerge as a Gulf-connector. Of course, we talked of the book we could write and a host of imagined projects linking Veracruz, New Orleans, and Havana. Since—as historian Matthew Pratt Guterl has argued—the Gulf has been an unacknowledged “American Mediterranean ” constituting what José Martí called “our Greece,” we ask how contemporary writers from the region respond to this nigh-mythic cross-cultural heritage and its gulfs of perspective. Beyond our triangulated port cities (Veracruz, New Orleans, and Havana), we showcase writers from the Gulf states of Mexico, the US South (including the Rio Grande basin), and western Cuba. Today’s Gulf still holds a complexly cosmopolitan and volatile legacy. The Gulf of Mexico has been navigated by Arawak and Mayan and Mississippian peoples, by Columbus and Cortés and Cabeza de Vaca, by slave ships and by refugees of slavery and white supremacy, by US marines invading both Mexico and Cuba, by drug traffickers and petroleum industries in a long process of globalization and localized resistance, and by climatic forces like the deity Hurakan who activated our deepest origins in the Popul Vuh. The Gulf’s loop currents of resistant countercultures— whether in jazz or blues, Mexican or Cuban son, counterclockwise ritual dances and flying bird-men, carnival parades or grassroots community activism —work from traditions of creolization and indigeneity that have shaped the world. Our special section of World Literature Today brings a number of the region’s writers into conversations that hardly take place apart from a forum such as this. Such a forum or “bridge” is in no way parochial. We began with an interest in how Gulf writers handle some of the following questions : (1) What responses do these writers offer to standardizing forces of globalization (going back to old colonizations of An Ofrenda to Sacred Waters by Dolores Flores-Silva The Gulf’s loop currents of resistant countercultures—whether in jazz or blues, Mexican or Cuban son, counterclockwise ritual dances and flying bird-men, carnival parades or grassroots community activism—work from traditions of creolization and indigeneity that have shaped the world. WORLDLIT.ORG 45 46 WLT SEPTEMBER–OCTOBER 2016 thought and power in the region) from this matrix of cross-cultural origin-ality? (2) How do the poetics and ritual or festive traditions inherited from Creole and Indigenous ancestors help writers speak from the margins of accredited thought across borders that threaten to silence or zombify the imagination? (3) How do these writers respond to environmental destruction and the traumas wrought by global capital in the wake of the oil industry, the Cuban Revolution, post-NAFTA development, and migration or exile all along the Gulf rim? (4) Can an imaginative literature of the Gulf bridge frontiers and help voices and readers cross over, return...
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