Posthumous publication is part of a long-standing literary tradition that crosses centuries and continents, giving works of art ranging from The Canterbury Tales to The Diary of Anne Frank, from Northanger Abbey to 2666. Preparing for print work that was incomplete and unpublished at the time of the author’s death, posthumous editing is a type of public and goal-oriented grieving that seeks to establish or preserve the legacy of a writer no longer able to establish it for herself. Surrounding the work of posthumous editing are questions of authorial intent, editorial and publisher imperative, and reader response, each shaping the degree to which a posthumously published edition of a text is considered valuable. The visibility of the work of such editing spans from conspicuously absent to noticeably transformative, suggesting a wide range of possibilities for imagining the editorial role in producing the posthumous text. Examples drawn from 20th- and 21st-century US literature reveal the nature of editorial relationships to the deceased as well as the subsequent relationships of readers to the posthumously published text.
Blanca López de Mariscal
The first printing workshops established in New Spain had been entrusted with a particular goal: they were designed to serve as support for the enormous work of indoctrination carried out by the mendicant orders—the so-called evangelization of the indigenous population. The Spanish Crown had assigned the first missionaries with the task of edifying the souls of those inhabitants in its new domains, both the Indians and the Spaniards, as well as creoles and mestizos who formed part of this new society. Therefore, the complex process of evangelization of the Indians became an overwhelming endeavor for the mendicant orders, requiring the support of the printing press. New works intended for the evangelization of the Indians began to appear, but Indians would not be the readers of such works; instead, their authors provided the missionaries with tools for the process of evangelization. These texts, often bilingual, facilitated communication with the inhabitants of the New World, particularly works on Christian doctrine, confessional manuals, sermons, and grammars (artes de la lengua). Accordingly, these genres were locally produced throughout the 16th century, and designed as instruments for the massive evangelization of the Indians. When considering the history of the Americas in the 16th and 17th centuries it is crucial to consider the arrival of the first books, the coming of the printing press as an instrument to facilitate evangelization of the New World, reading practices amongst Spaniards and mestizos, the formation of the first libraries, and the establishment of booksellers in the viceroyalties of New Spain and Peru.
Matthew J. K. Hill
Print culture refers to the production, distribution, and reception of printed material. It includes the concepts of authorship, readership, and impact and entails the intersection of technological, political, religious, legal, social, educational, and economic practices, all of which can vary from one cultural context to another. Prior to their arrival in the Americas, Spain and Portugal had their own print culture and, following the conquest, they introduced it into their colonies, first through the importation of books from Europe and later following the establishment of the printing press in Mexico in 1539. Throughout the colonial period, the importation of books from abroad was a constant and lucrative practice. However, print culture was not uniform. As in Europe, print culture in Latin America was largely an urban phenomenon, with restricted readership due to high rates of illiteracy, which stemmed from factors of class, gender, race, and income, among others. Furthermore, the press itself spread slowly and unevenly, according to the circumstances of each region. One thing, however, that these territories had in common was widespread censorship. Reading, writing, and printing were subject to oversight by the Inquisition, whose responsibility was to police the reading habits of the populace and to ensure that no texts were printed that could disrupt the political and religious well-being of the colonies, as they defined it. In spite of Inquisitorial restrictions, print culture flourished and the number and kind of materials available increased dramatically until the early 19th century, when most of the territories under the Iberian monarchies became independent, a phenomenon due in part to the circulation of Enlightenment thought in the region. Following the era of revolutions, newly established republics attempted to implement freedom of the press. While the Inquisition no longer existed, censorship continued to be practiced to a greater or lesser degree, depending on the circumstances and who was in power. This also applies to Cuba and Puerto Rico. Immediately prior to Latin American independence, the United States became a sovereign nation. Commercial and cultural exchanges, including print materials, between the United States and Latin America increased, and many Latin Americans were traveling to and residing in the United States for extended periods. However, it was also in this period that the United States began a campaign of expansionism that did not cease until 1898 and resulted in the acquisition of half of Mexico’s national territory and of Spain’s remaining American colonies, Cuba and Puerto Rico. In addition to the land itself, the United States also “acquired” the people who had been Spanish and Mexican citizens in California, the Southwest, and Puerto Rico. With this change in sovereignty came a change in language, customs, and demographics, which provoked a cultural crisis among these new Latina/o citizens. To defend themselves against the racial persecution from Anglo-Americans and to reverse the impending annihilation of their culture and language, they turned to the press. The press allowed Latinas/os a degree of cultural autonomy, even as their position was slowly eroded by legal and demographic challenges as the 19th century progressed.
Frederick Luis Aldama
Despite Latinxs being the largest growing demographic in the United States, their experiences and identities continue to be underrepresented and misrepresented in the mainstream pop cultural imaginary. However, for all the negative stereotypes and restrictive ways that the mainstream boxes in Latinxs, Latinx musicians, writers, artists, comic book creators, and performers actively metabolize all cultural phenomena to clear positive spaces of empowerment and to make new perception, thought, and feeling about Latinx identities and experiences. It is important to understand, though, that Latinxs today consume all variety of cultural phenomena. For corporate America, therefore, the Latinx demographic represents a huge buying demographic. Viewed through cynical and skeptical eyes, increased representation of Latinxs in mainstream comic books and film results from this push to capture the Latinx consumer market. Within mainstream comic books and films, Latinx subjects are rarely the protagonists. However, Latinx comic book and film creators are actively creating Latinx protagonists within richly rendered Latinx story worlds. Latinx comic book and film creators work in all the storytelling genres and modes (realism, sci-fi, romance, memoir, biography, among many others) to clear new spaces for the expression of Latinx subjectivities and experiences.
Charles A. Johanningsmeier
During the years between 1865 and 1914, the United States became a nation of periodical readers as a greatly expanded number of newspapers and magazines—many of which contained fictional sketches, short stories, and novels—became cheaper and much more easily accessible to readers almost everywhere in the country. Many factors contributed to this tremendous expansion. For one thing, various technological innovations, including those related to typesetting, printing, and even paper making, made it possible to greatly increase periodical production while simultaneously lowering production costs. In addition, the rapid and extensive growth of the nation’s railroads, public libraries, and postal service made it much easier for periodicals to reach readers in markets that before the Civil War had not been well served. The overall result was that after the Civil War, many periodicals began to address particular market niches, although there was also a good deal of overlap. Story papers, genteel monthly magazines, women’s magazines, children’s periodicals, regional magazines, religious publications, magazines focused on particular ethnic and racial groups, and a small number of avant-garde magazines had their own distinct viewpoints and published particular types of fiction. The periodicals that reached the greatest number of markets and covered them most thoroughly, however, were local newspapers. By the 1880s, in hopes of attracting women readers to their advertising, many individual papers had begun to regularly publish fiction among their news stories and other features. In mid-decade, S. S. McClure and Irving Bacheller founded their respective newspaper syndicates and began selling fiction to multiple newspapers, in widely scattered markets, for simultaneous publication, thereby exposing a highly heterogeneous national audience of readers to high-quality fiction by prominent authors. Building on this model, a number of low-cost, mass-market monthly magazines, all of which prominently featured fiction by well-known writers, were founded in the 1890s to address this same national readership. The significantly expanded production and distribution of periodicals featuring fiction during the late 19th and early 20th centuries benefited many people but possibly none more so than fiction authors and readers. There were undoubtedly drawbacks for some authors and readers in the development of this new periodical industry and its extensive market reach, but in general the new system aided members of both groups. The higher number of periodicals being produced required a substantial increase in the supply of fiction, which allowed many more people to make their living writing such material. In addition, more readers than ever before could now afford (and have easy access to) a wider selection of the types of fiction they desired.
Luis A. Marentes
Early critics of the Porfirio Díaz regime and editors of the influential newspaper Regeneración, Ricardo and Enrique Flores Magón escaped to the United States in 1904. Here, with Ricardo as the leader and most prolific writer, they founded the Partido Liberal Mexicano (PLM) in 1906 and facilitated oppositional transnational networks of readers, political clubs, and other organizations. From their arrival they were constantly pursued and imprisoned by coordinated Mexican and US law enforcement and private detective agencies, but their cause gained US radical and worker support. With the outbreak of the 1910 Mexican Revolution the PLM splintered, with many members joining Madero’s forces, while the Flores Magón brothers and the PLM nucleus refused to compromise. They had moved beyond a liberal critique of a dictatorship to an anarchist oppositional stance to the state and private property. While not called Magonismo at the time, their ideological and organizational principles left a legacy in both Mexico and the United States greatly associated with the brothers. During World War I, a time of a growing nativist red scare in the United States, they turned from a relative nuisance to a foreign radical threat to US authorities. Ricardo died in Leavenworth federal penitentiary in 1922 and Enrique was deported to Mexico, where he promoted the brothers’ legacy within the postrevolutionary order. Although the PLM leadership opposed the new regime, their 1906 Program inspired much of the 1917 Constitution, and several of their comrades played influential roles in the new regime. In the United States many of the networks and mutual aid initiatives that engaged with the Flores Magón brothers continued to bear fruit, well into the emergence of the Chicana/o Movement.
Rosa Dalia Valdez Garza
The history of print culture in Latin America is not only about the world of books propagated by an intellectual elite who exerted influence and advanced civic discourse by publishing their works, their intimate reading customs, and exclusive kinds of sociabilities—even during the Enlightenment. Not even the increase in literacy among the general population lessens the importance of oral practice traditions among their potential readers. This is made evident not only when identifying the kinds of sociabilities based on reading among different social classes but when observing the role and impact of print during the reign of the Spanish Crown in the Americas. In this way, we can identify the role of publishers, print culture, and books. To think about print culture beyond the printed book and prevailing print genres enables us to attain the broadest understanding of printing typology that served the intellectual elite and those materials that responded to the daily requirements related to public governance and professional or family life. Widening this perspective leads to the understanding of the appearance during the 18th century of the periodical that even with a civil and religious censorship served to advance the principles of discussion based on reason; while during the 19th century, with freedom in printing, periodicals consolidate themselves as protagonists in political discourse. Therefore it is necessary to imagine the impact of publishing and print culture on people’s lives beyond the members of the Republic of Letters and to weigh the impact of print on an illiterate audience whose lives were also shaped by print culture. The cultural practices related mainly to reading, sociabilities, conversation, and publicizing (in the sense of “making public”) are those that bring to light the cultural significance of print.
Donna M. Kabalen de Bichara
Hundreds of 19th-century newspapers and magazines published in the region of the US–Mexico border are housed in archival collections in Mexico and the United States, and they provide access to historical, cultural, and ideological perspectives involving two world spheres that are intimately connected. Archival collections in the following databases provide access to periodicals published in the United States as well as in Mexico: the Newspaper and Periodicals Collection at the National Autonomous University of Mexico; the Readex Collection of Hispanic American Newspapers, 1808–1980; the Nettie Lee Benson Library’s microfilmed collection of 19th-century independent newspapers; the digital collection of periodicals and magazines from the Capilla Alfonsina Biblioteca Universitaria and the Biblioteca Universitaria Raúl Rangel Frias, at the Universidad Autónoma de Nuevo León; and the EBSCO Arte Público Hispanic Historical Collections, Series 1 and 2. These collections house digitized and microfilmed newspapers that include those published in the US states of California, Arizona, Nevada, New Mexico, and Texas, as well as Mexican states such as Baja California, Sonora, Chihuahua, Coahuila, Nuevo León, and Tamaulipas. The region includes areas that share not only a physical border but also a cultural memory based on the effects of historical collisions that have contributed to the formation of new meanings regarding these world spheres that can be understood as two intersecting semiotic systems that exist as a continuum. The intersection of these spaces represents the transnational aspect of periodical print culture of the late 19th century that communicates worldviews that are semiotically and ideologically heterogeneous. Indeed, cultural spaces that exist in the borderland (or that symbolic space that forms a border or frontier in a cultural sense), are semiotic realities that unfold in unpredictable and indeterminate ways as a result of historical processes. Periodical print culture produced in the border region provides access to diverse social, cultural, political, and religious perspectives. Furthermore, the history of print culture involves a process of communication of both social and cultural history. As objects of study, borderland newspapers ultimately provide the basis for understanding the circulation of ideas.
Alfred J. López
José Martí (1853–1895) is the best known of Cuba’s founding figures and was the civilian leader of the Cuban independence movement. Beyond his iconic status among Cubans and the diaspora, Martí ranks among the most important Latin Americans of the 19th century. Aside from his revolutionary legacy, Martí remains a canonical figure of 19th-century Latin American literature. As a poet he pioneered Latin American modernismo; volumes such as Ismaelillo (1882) and Versos sencillos (Simple verses, 1891) are considered masterpieces. Martí’s US crónicas (chronicles), which appeared in Latin America’s most respected newspapers of the 1880s, stand among the most important journalistic works of the Gilded Age. His other writings span several other genres, including drama and prose fiction. Martí also founded a newspaper, Patria, which served as the Cuban independence movement’s official mouthpiece. In a lifetime of exile and immigration spanning three continents and a half-dozen countries, he worked as a secondary teacher and university professor; law clerk; journalist, editor, and translator; and diplomat. Martí’s collected works fill twenty-six volumes, with previously unknown writings still emerging. Biographers generally divide Martí’s life into three phases: childhood and adolescence in Cuba, culminating in his imprisonment and first exile (1853–1871); post-exile life in Spain, Mexico, and Guatemala (1871–1878); and after the second exile from Cuba, his mature revolutionary period in New York (1881–1895). A brief imprisonment for conspiracy ended with Martí’s first expulsion from Cuba in January 1871. He spent the next four years in Spain, where he continued to denounce Spanish imperialism and earned a law degree. He then rejoined his family in Mexico but had to flee after the rise of the dictator Porfirio Díaz in 1876. Martí then emigrated to Guatemala, where he attempted to settle with his wife Carmen Zayas Bazán, whom he married in 1877. But disagreements with President Justo Rufino Barrios again forced the couple into exile. After a failed attempt to resettle in Havana under a general amnesty following the Ten Years’ War (1868–1878) and his second expulsion from Cuba, Martí eventually landed in New York, which served as his base for building the Cuban independence movement. After several false starts, the Cuban Revolutionary Party finally launched its War of Independence in February 1895. Martí joined rebel forces on the island in April and died in battle little over a month later. Martí’s posthumous fame spread slowly, but by the 1930s he was generally hailed as Cuba’s great “apostle” of independence. Successive Cuban governments burnished his legend, and Fidel Castro claimed Martí as the 1959 Cuban Revolution’s “intellectual author.” The mass emigration of Cubans fleeing the revolution then spread Martí’s fame to the United States and Europe; Cuban-Americans continue to identify with him as an example of the nation in exile. Though not a Latino in the contemporary sense, Martí remains a key figure in the historical formation of US Latino/a identities.
José Alvarez de Toledo y Dubois (1779–1858) was either a freedom-fighter turned traitor to the cause of Mexican independence or a spy for the Spanish empire at a time of intense competition among European powers and the early American Republic for dominance over northern New Spain and what would become Texas. In the course of his assimilation or appropriation of liberal discourse and his inciting rebellions, he became a pioneer in the use of the printing press to generate propaganda to recruit troops and financing in advance of military action. His various proclamations and pamphlets exhorted New Spain and other Spanish colonies in America to separate from the motherland and establish republics; a more lasting contribution, however, may have been his being partially responsible for the introduction of the first printing press and publication of the first newspaper in Texas during the early 19th century,