8/6北美 一战分手放狗

等待着的弗罗子

求问狗主，我是Q51,V34,为什么也是710啊我要疯了

billyisfragile!

The Latino Reader: An American Literary Tradition from 1542 to the Present Paperback – March 26, 1997

Page 137
Latino literature is generally regarded as a twentieth-century phenomenon; beginning in the 1960s, Chicano and Puerto Rican authors, then Cuban Americans and more recent Latino arrivals, have produced a substantial and impressive body of writing. While writers in Latin America were establishing what has been called the “boom” of Latin American narrative, their U.S. counterparts were forging a distinct tradition in poetry, drama, and fiction in their own voices. What this anthology hopes to demonstrate, however, is that the spectacular flowering of U.S. Latino letters from the 1960s onward grew from seeds carefully and painstakingly sown by their writers. Their lonely efforts often went unrecognized by mainstream critics as well as younger Latino authors, who were frequently unaware of their existence.

similarly（高亮，有考题，问你这个similarly的作用，有迷惑选项说 说明2个拉美文学作者都是因为是拉美裔的才被人埋没的，其实不是的，没有关于第一个女人的出身信息。我选了，2个人的contribution都被低估了）

Page 138
A case in point is the The Rebel by Leonor Villegas de Magnon. The work is based on the author’s fascinating experiences as the founder of a nursing corps that attended to the revolutionary forces in the Texas/Mexican border region during the Mexican Revolution. Frustrated in her attempts to have the novel published in Spanish in the 1920s, Villegas De Magnon later wrote a version in English in the 1940s, but it met a similar fate. Thanks to the efforts of contemporary scholars and the foresight of editors dedicated to promoting Latino literature, the novel was finally published in 1994. It stands as another challenge to the stereotypical misconceptions regarding Mexican Americans, particularly women, of that era. Similarly, for decades the poet William Carlos Williams was not included in the sphere of U.S. Latino culture due to the lack of appreciation of his profound Puerto Rican and Spanish-American roots. Recent scholarly research, however, has demonstrated that this important precursor of modern American poetry is truly worthy of this distinction; his poetic sensibilities have been shown to reflect a more hemispheric/New World application of the term “American.”

Page 156
What was not explored in any depth until Julio Marzan’s ground-breaking study The Spanish American Roots of Williams Carlos Williams (1994) is the profoundly Latin American origin of Williams’s poetry, which was influenced in great measure by his parent, particularly his mother. His American vision cannot be totally appreciated without an understanding of the wide variety of cultural sources that informed his work. His upbringing as a bilingual, bicultural child and his lifelong ambivalence word his cultural origins reflect the feelings of many children of immigrants in the United States. Commenting on Williams’s need to “possess” America due to his “mixed ancestry,” Marzan observes the following: “Here Williams was discussing In the American Grain and, as in that book, the ‘America’ in question is not narrowly the United States, but the hemispheric America that Columbus stumbled onto. Elena’s being from Puerto Rico, one of the sites where Columbus is believed to have actually set foot, and from a Spanish-speaking line that mingled its blood  with the continent, made that ‘America’ Williams’ legacy. He was an American and a ‘pure product of America’ because his mother was Puerto Rican.”

是原文改写吗？

wanes

楼主学了多久呀