Book Description: Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. Writers and filmmakers such as Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie have made brilliant use of magical realism to articulate the trauma of dislocation and the legacies of colonialism that people of color experience in the postcolonial, multiethnic world. This book seeks to redeem and refine the theory of magical realism in U.S. multiethnic and British postcolonial literature and film. The author engages in theoretically sophisticated readings of Ana Castillo's So Far from God, Oscar "Zeta" Acost's Autobiography of a Brown Buffalo, Salman Rushdie's Midnight's Children, Shame, The Satanic Verses, and The Moor's Last Sigh, Julie Dash's Daughters of the Dust, and Stephen Frears and Hanif Kureishi's Sammy and Rosie Get Laid. Coining the term "magicorealism" to characterize these works, Aldama not only creates a postethnic critical methodology for enlarging the contact zone between the genres of novel, film, and autobiography, but also shatters the interpretive lens that traditionally confuses the transcription of the real world, where truth and falsity apply, with narrative modes governed by other criteria.

Reviews:
"In this exciting new book, Frederick Luis Aldama has done an outstanding job of remapping 'magical realism"--Werner Sollors, Henry B. and Anne M. Cabot Professor of English Literature and Professor of Afro-American Studies, Harvard University.

"Frederick Luis Aldama offers a vigorous revisionary perspective on postcolonial literature and, more specifically, on the much discussed phenomenon of magicorealism. He has a commanding knowledge of postcolonial theory, and he performs a welcome critical task in demonstrating how it tends to confuse the confines of the academy with the contours of the real world, textuality with ontology. Aldama himself is a political critic, but he sanely argues that the arena of any serious politics is the world of living people and not a text"--Robert Alter, Professor of Comparative Literature, University of California at Berkeley and author of Canon and Creativity.

"Providing a lucid and cogent critique of the tendency in contemporary criticism to ontologize "magical realism," a tendency that implicitly articulates a relatively simple mimetic relationship between "magical realism" and various postcolonial cultures, Frederick Aldama instead posits a theory of what he calls "rebellious mimetics" that introduces a complex aesthetic and political mediation in that relationship. In doing so, he weaves together a series of excellent analyses of novels and films by authors and artists as diverse as Salman Rushdie, Ana Castillio, Oscar Zeta Acosta, Julie Dash, and Hanif Kureishi. This is a very significant contribution to the study of this genre"--Abdul R. JanMohamed, Professor of English, University of California, Berkeley.

"In this insightful and forceful study of magical realism, Aldama successfully argues that a true postethnic and postcolonial criticism should not (con)fuse the world with the text. His commentaries on Castillo, Dash, Kureishi, Acosta, and Rushdie force the readers to see these artists' magicorealist works in a new light, thus revealing all of their splendid and contradictory complexities. Aldama's book is a must for anyone who wishes to understand the intricacies of magical realism and the vitality of this genre in contemporary European postcolonial and ethnic American literature and scholarship"--Emilio Bejel, Professor of Spanish American Literature, University of Colorado at Boulder and author of Gay Cuban Nation.

"Through a study of the playful narrative techniques of writers and film-makers such as Dash, Garcia Marquez, Rushdie and Kureishi, Frederick Luis Aldama offers a powerful critique of those who view magical realism as either a means toward postcolonial resistance or as a depiction of some exotic real world. Proposing a "postethnic" approach, Aldama argues convincingly that a reader's or viewer's understanding of the aesthetic dimensions of what he calls "magicorealism" can lead to greater political understanding than older, more ideologically oriented interpretations"--Herbert Lindenberger, Avalon Professor of Humanities, Emeritus, Stanford University.

"It is rare that we come across a truly great book, one in which fierce intelligence asserts itself in pages that truly matter. Such a book assigns us the task of reordering what we have taken as true on the promise of an understanding more profound. In such a book, we are guided by extraordinary vision, by an author with keen insight. In the rarest of occasions, we read words that are wise, words that make broad connection and interrogate a range of thought that afterwards we deem necessary. Postethnic Narrative Criticism is such a book; Frederick Aldama is such an author"--Alfred Arteaga, Associate Professor of Ethnic Studies, University of California, Berkeley.

This work offers a highly valuable rethinking of magical realism, one that assesses previous work in new ways, one that extends the historical reach of arguments about magical realism, and one that brings a new level of sophistication to arguments about it"--Carl Guitierrez-Jones, Professor and Chair, University of California, Santa Barbara.

Enfin! Postethnic Narrative Criticism is the first book in ethnic and postcolonial literary and film studies that cuts through Gordian knots that arise from confusing narrative fiction (a complexly organized aesthetic that uses point of view, style, and genre to engage readers) with the facts that make up our reality outside of the text.
This is a must read for any reader interested in moving away from studies--poststructrualist or otherwise--that lead to dead ends.
It is a must read for readers tired of jargon and fundamental misconceptions of what novels and films can do in the world at large.

Calling for active participation from knowledgeable and intelligent readers, Post-Ethnic Narrative Criticism serves as a well drawn out map for literary exploration through an innovative approach to understanding complicated literature and films. Thought his engagement as an author, Aldama speaks directly to his audience in a manner that is candid, forthright, and compelling. Although this is a difficult text- one that must not be taken lightly, this work acknowledges real dilemmas of real peoples, and offers up a critically and emotionally balanced understanding of the often-subtle dilemmas of contemporary narratology confronting such peoples.
As a result of my own time spent with this text I have walked away with a greater understanding of how narrative techniques inform textual spaces of those who are often placeless, and how this (dis)location functions both inside and out of the academy.

With this book the Brown Buffalo has established himself as a great writer of gonzo.

Re-Saturday Review of Literature
Oscar Acosta disappeared in Mexico in 1974, not 1971 (the year of his trip to Las Vegas with Dr. Thompson).

Re-Saturday Review of Literature
Oscar Acosta disappeared in Mexico in 1974, not 1971 (the year of his trip to Las Vegas with Dr. Thompson).

This is the most realistic book I have ever seen about Mexican American hippies in Aztlan, the Chicanos of the 1960's neo-freedom movements. It will surely become a collector's item worth saving in this era of gung-ho Americanism which does not know the kind of objectivity Acosta displays with regard to how we think and why we believe as we do. Hunter S. Thompson described the author better than I can in his introduction to the book, highlighting his uniqueness while lamenting his untimely passing. I will write more after I give the book a more thorough second reading.

I heard about Oscar'Zeta' Acosta basically from reading Hunter S. Thompson's book but became quickly fascinated by Dr. Gonzo and wanted to know more about him. I was pleased to find out he had also written some books and was even more pleased to find out he was(is?) a very good writer. Truly an inspiration to anyone who has ever felt their identity as an american is something that they have had to come to grips with. Apart from that serious subtext, it also a very entertaining and amusing story that rolls along, introducing some interesting and memorable characters and situations. A passionate human being wrote this book and it is filled with all the honesty and humanity of someone bearing his soul to achieve a greater sense of genuine self which for Oscar Acosta means being "A Brown Buffalo"

This is one of the best books I have ever read. Brown Buffalo is basically a road story about a Mexican-American looking for his identity in a time before the Civil Rights movement. The narrative focuses on Oscar Acosta and his semi-autobiographical account of his life story. The hero of this novel is what makes it so good. Acosta's detailed storytelling keeps the reader interested throughout.

To finally learn who the inspriation behind H.S. Thompson's Gonzo attorney was a treat. This book is a must read for anyone who desired the guts to quit their job and hit the road and discover life on the 'other' side of life. Every American should graze where the Buffalo once roamed.