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These eNotes are an offprint from Literature of Developing Nations For Students: Presenting Analysis, Context, and Criticism on Literature of Developing Nations.

Literature of Developing Nations For Students

Project Editor David Galens

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The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Literature of Developing Nations for Students (LDNfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIALS IN LDNfS, VOLUMES 1 & 2, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

Américas, v. 45, July-August, 1993; v. 48, November-December, 1996. © 1993,1996 Américas. Both reprinted by permission of Américas, a bimonthly magazine published by the General Secretariat of the Organization of American States in English and Spanish.—ARIEL: A Review of International English Literature, v.29, October, 1998 for ' 'Fables of the Plague Years: Postcolonialism, Postmodernism, and Magical Realism in 'Cien anos de soledad'’’ by Dean J. Irvine. Copyright © 1998 The Board of Governors, The University of Calgary. Reproduced by permission of the publisher and the author./ v. 24, April, 1993 for ‘‘Jean Rhys's Construction of Blackness as Escape from White Femininity in 'Wide Sargasso Sea''' by Maria Olaussen. Copyright © 1993 The Board of Governors, The University of Calgary. Reproduced by permission of the publisher.—Belles Lettres: A Review of Books by Women, v. 10, Fall, 1994. Reproduced by permission.—Booklist, v. 94, February 1, 1998; v. 94, July, 1998. Copyright © 1998 by the American Library Association. Both reproduced by permission.—Christian Century, v. 116, September 22, 1999. Copyright 1999 Christian Century Foundation. Reproduced by permission from The Christian Century.—CLA Journal, v. xxxvii, September, 1993. Copyright, 1993 by The College Language Association. Used by permission of The College Language Association.—College Literature, v. 19, October-February, 1992; v. 22, February, 1995. Copyright © 1992, 1995 by West Chester University. Both reproduced by permission.—Commonweal, v. 121, January 14, 1994. Copyright © 1994 Commonweal Publishing Co., Inc. Reproduced by permission of Commonweal Foundation.—Comparative Literature, v. 43, Fall, 1991 for ' 'Myth, Contingency, and Revolution in Carlos Fuentes's La region mas transparente’’ by Maarten Van Delden. Reproduced by permission of the author.—Confluencia,v. 1,Fall, 1985.Reproduced by permission.—Dallas Morning News, October 20, 1996. © 1996 The Dallas Morning News. Reproduced by permission..—Explicator, v. 55, Winter, 1997. Copyright © 1997 Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036-1802.—French Review, v. 6, October, 1990. Copyright 1990 by the American Association of Teachers of French. Reproduced by permission.—Hispania, May, 1970 for ‘‘Aristotle and Vargas Llosa: Literature, History and the Interpretation of Reality’’ by Frank Dauster; v. 71, December, 1988 for ‘‘This is No Way to Run a Railroad: Arreola' s Allegorical Railroad and Possible Source'' by John R. Burt. © 1988 The American Association of Teachers of Spanish and Portguese, Inc. Reproduced by permission of the publisher and the author. © 1970, 1988 The American Association of Teachers of Spanish and Portguese, Inc. Both reproduced by permission of the publisher and the authors.—Humanist, v. 53, March-April, 1993 for ‘‘Nagugi wa Thiong'o and the Politics of Language’’ by Theodore Pelton. Copyright 1993 by the American Humanist Association. Reproduced by permission of the author.— International Fiction Review, v. 21,1994. © copyright 1994 International Fiction Association. Reproduced by permission.—Journal of Commonwealth Literature, n. 5, July, 1968; v. xii, April, 1978; v. xvii, 1982. All reproduced with the kind permission of Bowker-Saur.—Latin American Literary Review, v. vi, Fall-Winter, 1977; v. xiv, January-June, 1986. Reproduced by permission.— Latin American Perspectives, v. 26, November, 1999. Reproduced by permission of Sage Publications, Inc.—Literary Criterion, v. xxvii, 1991. v. xxix, 1994. Both reproduced by permission.—London Times, September 18, 1997. Reproduced by permission.—Los Angeles Times, July 29, 1998; October 10, 1999. Copyright, 1998, 1999, Los Angeles Times. Both reproduced by permission.— Maclean's Magazine, v. 102, October 23, 1989 for "Jasmine" by Eleanor Wachtel. © 1989 by Maclean's Magazine. Reproduced by permission of the author.—MELUS, v. 22, 1997; v. 23, Spring, 1998. Copyright, MELUS: The Society for the Study of Multi-Ethnic Literature of the United States, 1997 Reproduced by permission.—Modern Fiction Studies, v. 26, Summer, 1980; v. 44, Winter, 1998. Copyright © 1980,1998 by Purdue Research Foundation, West Lafayette, IN 47907. All rights reserved. Both reproduced by permission of The Johns Hopkins University.—Multicultural Review, v. 5, June, 1996. Reproduced by permission of Greenwood Publishing Group, Inc., Westport, CT.— NACLA Report on the Americas, v. 32, March-April, 1999; v. 32, May-June, 1999. Copyright 1999 by the North American Congress on Latin America. Both reproduced by permission.—Nation, (New York), v. 246, April 16, 1988; v. 254, January 27, 1992; v. 262, January 29, 1996; New York, v. 264, May 19, 1997. © 1988; 1992; 1996; 1997 The Nation magazine/ The Nation Company, Inc. All reproduced by permission.—New Literary History, v. 24, Spring, 1993. Copyright © 1993 by New Literary History. Reproduced by permission of The Johns Hopkins University Press.—New Statesman & Society, v. 6, June 18,1993. © 1993 Statesman & Nation Publishing Company Limited. Reproduced by permission.—North American Review, v. 281, March-April, 1996. Reproduced by permission.— NWSA Journal, v. 11, March 22, 1999. Reproduced by permission.—Publisher's Weekly, v. 237, December21,1990; v. 240, March 29,1993; v. 241, January 24, 1994; v. 242, June 19, 1995; v. 245, January 19, 1998; v. 245, June 1, 1998. Copyright 1990, 1993, 1994, 1995, 1998 by Reed Publishing USA. All reproduced from Publishers Weekly, published by the Bowker Magazine Group of Cahners Publishing Co., a division of Reed Publishing USA., by permission.—Research in African Literatures, v. 23, Spring, 1992; v. 25, Summer, 1994. Copyright © 1992, 1994 Indiana University Press. Both reproduced by permission.—Review of Contemporary Fiction, v. 13, Summer, 1993. Copyright, 1993, by John O'Brien. Reproduced by permission.—Romance Notes, v. xxiv, Winter, 1983. Reproduced by permission.—Romantic Review, v. 86, January, 1995. Reproduced by permission.—Studies in Short Fiction, v. 29, Winter, 1992; v. 31, Summer, 1994; v. 32, Spring, 1995 Copyright 1992, 1994, 1995 by Newberry College. All reproduced by permission.—Texas Studies in Literature and Language, v. xix, Winter, 1977. Reproduced by permission.—Times (London), August 21, 1997; April 30,1998. © Times Newspapers Limited 1998. All reproduced from The Times, London by permission.—Times Literary Supplement, July 4, 1986; May 18-24, 1990. © The Times Supplements Limited 1986, 1990. Both reproduced from The Times Literary Supplement by permission.—Twentieth Century Literature, v. 39, Winter, 1993. Copyright 1993, Hofstra University Press. Reproduced by permission.—UNESCO Courier, November, 1989. Reproduced by permission.—Washington Times, May 15, 1997. Copyright © 1997 News World Communications, Inc. Reprinted with permission of The Washington Times.—Women's Studies, v. 22, March, 1993. © Gordon and Breach Science Publishers. Reproduce by permission.—World Literature Today, v. 52, Winter, 1978; v. 64, Summer, 1991; v. 69, Winter, 1995; v. 72, Winter, 1998; v. 73, Spring, 1999. Copyright 1978, 1991, 1995, 1998, 1999 by the University of Oklahoma Press. All reproduced by permission of the publisher.— World Literature Written in English, November, 1974; v. 28, Spring, 1988 © Copyright 1974 WLWE- World Literature Written in English. Reproduced by permission of the publisher.

COPYRIGHTED MATERIALS IN LDNfS, VOLUMES 1 & 2, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Chancy, Myriam J. A. From Framing Silence: A Revolutionary Novels by Haitian Women. Rutgers University Press, 1997. Copyright (c) 1997 by Myriam J. A. Chancy. All rights reserved. Reproduced by permission of Rutgers, The State University.— Cruz, Victor Hernandez. From Mainland. Random House, 1973. Reproduced by permission of Random House, Inc.—Evans, Jennifer. From Annual Selected Papers of the ALA. Edited by Stephen H. Arnold. Three Continents Press, 1983. Reproduced by permission.—Fulks, Barbara P. From Reference Guide to World Literature, 2nd ed. Edited by Lesley Henderson. St. James Press, 1995. Reproduced by permission.—Nagel, James. From Traditions, Voices, and Dreams. Edited by Melvin J. Friedman and Ben Siegel. University of Delaware Press, 1995. Reproduced by permission.—Neruda, Pablo. From Neruda and Vallejo: Selected Poems. Edited by Robert Bly. Beacon Press, 1971. Copyright © 1971 by Robert Bly. Reproduced by permission.—Ojo-Ade, Femi. From Africana Literature Today. Africana Publishing Company, 1982. Reproduced by permission in the U.S. by Holmes & Meier Publishers, Inc. In the world market by Heinemann Educational Books Ltd.—Paz, Octavio. From Octavio Paz: Selected Poems. Edited by Eliot Weinberger. A New Directions Book, 1984. Reproduced by permission.—Peters, Jonathan. From A Dance of Masks. Three Continents Press, 1978. Copyright © 1978 by Three Continents Press, copyright © 1996 by Three Continents Press/Lynne Rienner Publishers. Reproduced by permission of Lynne Publishers, Inc.—Reeve, Richard M. From Carlos Fuentes, A Critical View. Edited by Robert Broday and Charles Rossman. University of Texas Press, 1982. Copyright © 1982 by the University of Texas Press. All rights reserved. Reproduced by permission.—Tittler, Jonathan. From Twyane's World Authors Series Online. G. K. Hall & Co., 1999. Reproduced by permission.—Walcott, Derek. From Poetry for Students. Edited by Mary Ruby. The Gale Group, 1999. Reproduced by permission of the author.—Willis, Robert J. From Staging the Impossible: The Fantastic Mode in Modern Drama. Edited by Patrick D. Murphy. Greenwood Press, 1992. Reproduced by permission of Greenwood Publishing Group, Inc., Westport, CT.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN LDNFS, VOLUMES 1 & 2, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Achebe, Chinua, photograph. AP/Wide World Photos. Reproduced by permission.— Allende, Isabel, photograph. AP/Wide World Photos. Reproduced by permission.—Allende, Isabel, photograph. Archive Photos. Reproduced by permission.— Allende, Salvador (riding in car), photograph. UPI/ Bettmann. Reproduced by permission.—Bernardo, Jose-Raul, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Borges, Jorge Luis (on couch, painting behind), photograph by Harold Mantell. Reproduced by permission.— Borges, Jorge Luis, photograph. The Library of Congress.—Bronte, Charlotte (engraved according to an act of Congress), 1873, engraving. Archive Photos/Kean. Reproduced by permission.—Castillo, Ana, portrait. Photograph by Barbara Seyda.— Cavazos, Lumi, (holding baby in arms), starring in Alfonso Arau's film ‘‘Like Water for Chocolate’’, photograph. The Kobal Collection. Reproduced by permission.—Clarke, Austin, photograph by John Reeves. Reproduced by permission.—Colombian Troops (line up on lawn), Bogota, Colombia, 1949, photograph. CORBIS/Bettmann. Reproduced by permission.—Colombian Troops (wearing various styles of military uniforms), Colon, Panama, 1902, photograph. CORBIS. Reproduced by permission.—Cortes, Hernan (approaching Aztec emperor Montezuma), Tenochtitlan, Mexico, engraving. The Library of Congress.—Cruz, Victor Hernandez (reading poetry outdoors), photograph. Arte Publico Press Archives, University of Houston. Reproduced by permission.—Danticat, Edwidge (hand on forehead), New York City, 1998, photograph by Doug Kanter. AP/Wide World Photos. Reproduced by permission.—Danticat, Edwidge, Ixel Cervera (Danticat singing her book for Cervera), New York City, 1998, photograph by Bebeto Matthews. AP/Wide World Photos. Reproduced by permission.—de Cervantes, Miguel, photograph.—Desai, Anita. Photograph courtesy of William Heinemann.—Eighth Street, Little Havana, Miami, Florida, c. 1981, photograph. Russell Thompson/Archive Photos. Reproduced by permission.—Esquivel, Laura, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.— Esquivel, Laura, sitting wearing a flower print dews, photograph. © Jerry Bauer. Reproduced by permission.—Family near mealtime, Central Africa, photograph. United Nations. Reproduced by permission.—Fuentes, Carlos, photograph by Hugh Peralta. Archive Photos, Inc./Reuters. Reproduced by permission.—Fugard, Athol, photograph. AP/Wide World Photos. Reproduced by permission.—Fugard, Athol (seated on couch with Amy Irving), 1988, photograph. AP/Wide World Photos. Reproduced by permission.—Garcia, Cristina, photograph. AP/ Wide World Photos. Reproduced by permission.— Garcia Marquez, Gabriel (looking right, in dark shirt), 1982, photograph. AP/Wide World Photos. Reproduced by permission.—Group of slaves disembarking (three-masted ship in distance), engraving. The Library of Congress.—Guy, Rosa, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Hurt, William and Raul Julia. From a scene from ‘‘Kiss of the Spider Woman,’’ photograph. The Kobal Collection. Reproduced by permission.—Mandela, Nelson and F.W. de Klerk, 1994, photograph. Reuters/Bettmann. Reproduced by permission.—Marti, Jose (arms folded across chest), photograph. The Library of Congress.— Menchu, Rigoberta, (hand raised, speaking), Tokyo, Japan, 1993, photograph. Reuters/Bettmann. Reproduced by permission.—Mistral, Gabriela, photograph. The Library of Congress.—Mukherjee, Bharati. © Jerry Bauer. Reproduced by permission.—Mukherjee, Bharati, photograph. AP/Wide World Photos. Reproduced by permission.—Muslim woman on beach, Senegal, 1978, photograph by Owen Franken. © Owen Franken/CORBIS. Reproduced by permission.—Narayan, R.K., photograph by Jerry Bauer. Reproduced with permission.— Neruda, Pablo, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Open boats along shore of Gold Coast, British West Africa, c. 1890-1910, photograph. © Corbis. Reproduced by permission.—Ortiz Cofer, Judith (seated), photograph. Arte Publico Press Archives, University of Houston. Reproduced by permission.—Paz, Octavio, photograph. AP/Wide World Photos. Reproduced by permission.—People being held in stadium (armed soldier standing guard), Santiago, Chile, 1973, photograph. CORBIS/Bettmann. Reproduced by permission.—Pinochet, Augusto (speaking into microphones, his right hand lifted, in uniform), 1978, photograph. AP/Wide World Photos. Reproduced by permission.—Puig, Manuel (wearing banned collar jacket), photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Quiche/Mayan Indian woman weaving on backstrap loom, c. 1980, Guatemala, photograph. CORBIS/ Jack Fields. Reproduced by permission.—Rhys, Jean, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Schoolchildren, Dakar, Senegal, 1978, photograph by Owen Franken. © Owen Franken/ Corbis. Reproduced by permission.—Senghor, Leopold, photograph. AP/Wide World Photos. Reproduced by permission.—The July, 1970, Playbill for Athol Fugard's ‘‘Boesman and Lena,’’ Directed by John Berry, with James Earl Jones as Boesman, Ruby Dee as Lena and Zakes Mokae as Old African, at the Circle in the Square Theater, NY, Credit page, photograph. PLAYBILL (r) is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.—Vargas, Llosa (Jorge) Mario (Pedro), photograph. Jerry Bauer. Reproduced by permission.—Walcott, Derek, photographs by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Woman standing in ocean, watching ship in distance, a scene from the film version of Jean Rhys' novel ‘‘Wide Sargasso Sea.’’ The Kobal Collection. Reproduced by permission.