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eBook details

• Title: Ana Castillo's "Subtitles" As Film, Metaphor and Identity (Estudios y Confluencias)
• Author : Confluencia: Revista Hispanica de Cultura y Literatura
• Release Date : January 22, 2009
• Genre: Social Science,Books,Nonfiction,Reference,
• Pages : * pages
• Size : 97 KB

Description

"i (1) [sic] have lived my life in a foreign film" (166), appears as the first line of the film metaphor and Ana Castillo's short story "Subtitles." Castillo's metaphor projects multiple purposes. She not only uses it as a literary and narrative technique that challenges political and sexual hegemony, but also asserts the protagonist's knowledge of dominant society. By means of this complex metaphor, Castillo seeks to create a postmodern borderlands subject who constantly reinvents herself in order to contest hegemony and yet appears as a participant in US hegemonic displays of culture and identity. This article examines the question of what the narrator means when she says that she "lives in a foreign film." As her metaphor/short story/foreign film unfolds, we see that the reinventions of the protagonist's identity come, paradoxically, both with costs and rewards. Critics have celebrated Ana Castillo's work for its creativity and the original ways she represents the Chicana borderlands experience and critiques hegemony for excluding Chicanas from US society and culture. Through innovative stylistic techniques such as the multiple readings possible of her epistolary novel The Mixquiahuala Letters (1986), Castillo reveals the challenge of searching for an identity when one is not part of mainstream society yet participates in it and is exoticized by its members. A distinguishing characteristic of Castillo's work and style is her use of irony. As Norma Alarcon explains, "ironic tones already present in the early work have been easily overlooked in favor of the protest message, which is in face re-doubled by irony. It can be argued irony is one of Castillo's trademarks" (94). Related to irony is Castillo's use of cliche. Debra A. Castillo describes its role,

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