Date of Award
Creative writing, Fiction
Each of the four characters represent four approaches to the dynamic between the academy and the inner city because the novel lies at the intersections of four critical frameworks. First, the post and post-postmodern literary theory of Calinescu, McHale, and Huber, who do excellent work in establishing the dramatic effects of both epistemological and ontological stances toward literary representations of reality. Secondly, the works of Rafter, Farrell, Hayword, and Young, in particular and popular/cultural criminology. Popular/cultural criminology can be summarized as “a category composed of discourses about crime found not only in film but also on the Internet, on television and in newspapers, novels and rap music and myth” (Rafter 7). Thirdly, the novel engages the historical criticism of the crime genre itself, through Scaggs, Hilfer, and Malpas. This historical contextualization is pivotal to understanding the “implicitly or explicitly political stance” on the societies of a crime writer’s day (Malpas 113). Those political stances become especially important when read in the light of the multi-cultural criticism of Patricia Linton, which helps us to realize that “by appropriating well-established genres, writers . . . make their narratives sites of cultural negotiation, in which both writer and reader have much at stake” (Linton 22). Those stakes, however, only exist in the borderland between the political stances of the mainstream eurocentric reader and the marginalized ethnic writer.
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Rosales, Christopher David, "Paper Dolls Ride Shotgun" (2018). Restricted Access ETDs. 78.
Received from author
Christopher David Rosales