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Roberto Bola├▒o as World Literature provides an introduction to the Chilean novelist that highlights his connections with classic and contemporary masters of world literature and his investigation of topics of international interest, such as the rise of rightwing and neofascist movements during the last decades of the 20th century. But this anthology also shows how Roberto Bola├▒o''s participation in world literature is informed in his experiences, identity, and, more generally, cultural location as a Chilean, Latin American and, more generally, Hispanic writer and man. This book provides a corrective to readings of his novels as exclusively "postmodern" or as unproblematically representative of Chilean or Latin American reality. Roberto Bola├▒o as World Literature thus helps readers to better understand such complex works as his monumental global five-part masterpiece 2666, his Chilean novels (Distant Star, By Night in Chile), and his Mexican narratives (Amulet, The Savage Detectives), among other works.

Honorable Mention from the 2022 International Latino Book Awards for Best Nonfiction - Multi-AuthorChapter 15 by Carolyn Fornoff is Winner of the 2022 Best Article in the Humanities Award, Latin American Studies Association, MexicoMexican Literature as World Literature is a landmark collection that, for the first time, studies the major interventions of Mexican literature of all genres in world literary circuits from the 16th century forward. This collection features a range of essays in dialogue with major theorists and critics of the concept of world literature. Authors show how the arrival of Spanish conquerors and priests, the work of enlightenment naturalists, the rise of Mexican academies, the culture of the Mexican Revolution, and Mexican neoliberalism have played major roles in the formation of world literary structures. The book features major scholars in Mexican literary studies engaging in the ways in which modernism, counterculture, and extinction have been essential to Mexico's world literary pursuit, as well as studies of the work of some of Mexico's most important authors: Sor Juana, Carlos Fuentes, Octavio Paz, and Juan Rulfo, among others. These essays expand and enrich the understanding of Mexican literature as world literature, showing the many significant ways in which Mexico has been a center for world literary circuits.

Brazilian Literature as World Literature is not only an introduction to Brazilian literature but also a study of the connections between Brazil's literary production and that of the rest of the world, particularly European and North American literatures. It highlights the tension that has always existed in Brazilian literature between the imitation of European models and forms and a yearning for a tradition of its own, as well as the attempts by modernist writers to propose possible solutions, such as aesthetic cannibalism, to overcome this tension.

For better or worse, America lives in the age of "worldedΓÇá? literature. Not the world literature of nations and nationalities considered from most powerful and wealthy to the least. And not the world literature found with a map. Rather, the worlded literature of individuals crossing borders, mixing stories, and speaking in dialect. Where translation struggles to be effective and background is itself another story. The "worldedΓÇá? literature of the multinational corporate publishing industry where the global market is all. The essays in this collection, from some of the most distinguished figures in American studies and literature, explore what it means to consider American literature as world literature.

Brazilian Literature as World Literature is not only an introduction to Brazilian literature but also a study of the connections between Brazil''s literary production and that of the rest of the world, particularly European and North American literatures. It highlights the tension that has always existed in Brazilian literature between the imitation of European models and forms and a yearning for a tradition of its own, as well as the attempts by modernist writers to propose possible solutions, such as aesthetic cannibalism, to overcome this tension.

Surrealism began as a movement in poetry and visual art, but it turned out to have its widest impact worldwide in fiction-including in major world writers who denied any connection to surrealism at all. At the heart of this book are discoveries Delia Ungureanu has made in the archives of Harvard''s Widener and Houghton libraries, where she has found that Jorge Luis Borges and Vladimir Nabokov were greatly indebted to surrealism for the creation of the pivotal characters who brought them world fame: Pierre Menard and Lolita. In From Paris to Tlön: Surrealism as World Literature, Ungureanu explores the networks of transmission and transformation that turned an avant-garde Parisian movement into a global literary phenomenon.From Paris to Tlön gives a fresh account of surrealism''s surprising success, exploring the process of artistic transfer by which the surrealist object rapidly evolved from a purely poetic conception to a mainstay of surrealist visual art and then a key element in late modernist and postmodern fiction, from Borges and Nabokov to such disparate writers as Gabriel García Márquez, Haruki Murakami, and Orhan Pamuk in the 21st century.

Crime fiction is one of the most widespread of all literary genres. What''s more, crime fiction is a part of our literary heritage and is intertwined with the development of today''s consumer society. Part of Bloomsbury major new series Literatures as World Literature, this is the first book to treat crime fiction in its full global and plurilingual dimensions, taking the genre seriously as a participant in the international sphere of world literature. In a wide-ranging panorama of the genre, 21 critics discuss crime fiction from Bulgaria, China, Israel, Mexico, Scandinavia, Kenya, Catalonia, and Tibet, among other locales. By bringing crime fiction into the sphere of world literature, Crime Fiction as World Literature gives new insights not only into the genre itself but also into the transnational flow of literature in the globalized mediascape of contemporary popular culture.

The recent return of 'world literature' to the centre of literary studies has entailed an increased attention to non-European literatures, but in turn has also further marginalized Europe's smaller literatures. Dutch and Flemish Literature as World Literature shows how Dutch-language literature, from its very beginnings in the Middle Ages to the present, has not only always taken its cue from the 'major' literary traditions of Europe and beyond, but has also actively contributed to and influenced these traditions. The contributors to this book focus on key works and authors, providing a concise, yet highly readable, history of Dutch-language literature and demonstrating how this literature is anchored in world literature.

Approaching Romanian literature as world literature, this book is a critical-theoretical manifesto that places its object at the crossroads of empires, regions, and influences and draws conclusions whose relevance extends beyond the Romanian, Romance, and East European cultural systems. This "intersectional†? revisiting of Romanian literature is organized into three parts. Opening with a fresh look at the literary ideology of Romania''s "national poet,†? Mihai Eminescu, part I dwells primarily on literary-cultural history as process and discipline. Here, the focus is on cross-cultural mimesis, the role of strategic imitation in the production of a distinct literature in modern Romania, and the shortcomings marking traditional literary historiography''s handling of these issues. Part II examines the ethno-linguistic and territorial complexity of Romanian literatures or "Romanian literature in the plural.†? Part III takes up the trans-systemic rise of Romanian, Jewish Romanian, and Romanian-European avant-garde and modernism, Socialist Realism, exile and émigré literature, and translation.

Roberto Bola├▒o as World Literature provides an introduction to the Chilean novelist that highlights his connections with classic and contemporary masters of world literature and his investigation of topics of international interest, such as the rise of rightwing and neofascist movements during the last decades of the 20th century. But this anthology also shows how Roberto Bola├▒o''s participation in world literature is informed in his experiences, identity, and, more generally, cultural location as a Chilean, Latin American and, more generally, Hispanic writer and man. This book provides a corrective to readings of his novels as exclusively "postmodern" or as unproblematically representative of Chilean or Latin American reality. Roberto Bola├▒o as World Literature thus helps readers to better understand such complex works as his monumental global five-part masterpiece 2666, his Chilean novels (Distant Star, By Night in Chile), and his Mexican narratives (Amulet, The Savage Detectives), among other works.

What does it mean to consider philosophy as a species of not just literature but world literature? The authors in this collection explore philosophy through the lens of the "worlding" of literature--that is, how philosophy is connected and reconnected through global literary networks that cross borders, mix stories, and speak in translation and dialect. Historically, much of the world's most influential philosophy, from Plato's dialogues and Augustine's confessions to Nietzsche's aphorisms and Sartre's plays, was a form of literature--as well as, by extension, a form of world literature. Philosophy as World Literature offers a variety of accounts of how the worlding of literature problematizes the national categorizing of philosophy and brings new meanings and challenges to the discussion of intersections between philosophy and literature.

Crime fiction is one of the most widespread of all literary genres. What''s more, crime fiction is a part of our literary heritage and is intertwined with the development of today''s consumer society. Part of Bloomsbury major new series Literatures as World Literature, this is the first book to treat crime fiction in its full global and plurilingual dimensions, taking the genre seriously as a participant in the international sphere of world literature. In a wide-ranging panorama of the genre, 21 critics discuss crime fiction from Bulgaria, China, Israel, Mexico, Scandinavia, Kenya, Catalonia, and Tibet, among other locales. By bringing crime fiction into the sphere of world literature, Crime Fiction as World Literature gives new insights not only into the genre itself but also into the transnational flow of literature in the globalized mediascape of contemporary popular culture.