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Cosmopolitan Desires: Global Modernity and World Literature in Latin America

Cosmopolitan Desires: Global Modernity and World Literature in Latin America Comparative Literature BOOK REVIEWS / 355 and mobility. Verne's characters travel and colonize the globe, while Holmberg's entertain only a spiritual voyage of the world. In the following sections, "Interlude: Globalization and the Impossible Totality" and "A Cosmopolitan Critique of World Literature," Siskind offers a reflection on cosmopolitanism as an ethics of reading, whereby literary mediations are effective in showing "affective displacement and re-assemblage of geopolitical imaginaries" (37). From Siskind's perspective, while the genealogy of world literature (from Goethe to Welleck) offers confidence in the emancipatory power of a global culture, the author's critical cosmopolitan approach to world literature seeks to investigate the "material production of its globality" (57). Building on this agenda, in chapter 2 Siskind takes issue with magical realism's reputation as the quintessential Latin American genre, and the marginal global genre par excellence, particularly after Gabriel García Márquez's Cien años de soledad. Siskind argues that the genre should be read not as an allegory of its culture of origin, but as an engagement with postcoloniality in a globalized world. The chapter revises the double origin of magical realism. On the one hand, there is art historian Franz Roh's notion of Neue Sachlichkeit as an "ahistorical" http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Cosmopolitan Desires: Global Modernity and World Literature in Latin America

Briceño, Ximena
Comparative Literature , Volume 68 (3) – Sep 1, 2016
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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/00104124-3631619
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Abstract

Comparative Literature BOOK REVIEWS / 355 and mobility. Verne's characters travel and colonize the globe, while Holmberg's entertain only a spiritual voyage of the world. In the following sections, "Interlude: Globalization and the Impossible Totality" and "A Cosmopolitan Critique of World Literature," Siskind offers a reflection on cosmopolitanism as an ethics of reading, whereby literary mediations are effective in showing "affective displacement and re-assemblage of geopolitical imaginaries" (37). From Siskind's perspective, while the genealogy of world literature (from Goethe to Welleck) offers confidence in the emancipatory power of a global culture, the author's critical cosmopolitan approach to world literature seeks to investigate the "material production of its globality" (57). Building on this agenda, in chapter 2 Siskind takes issue with magical realism's reputation as the quintessential Latin American genre, and the marginal global genre par excellence, particularly after Gabriel García Márquez's Cien años de soledad. Siskind argues that the genre should be read not as an allegory of its culture of origin, but as an engagement with postcoloniality in a globalized world. The chapter revises the double origin of magical realism. On the one hand, there is art historian Franz Roh's notion of Neue Sachlichkeit as an "ahistorical"

Journal

Comparative Literature – Duke University Press

Published: Sep 1, 2016

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