Black in Print examines the role of narrative, from traditional writing to new media, in conversations about race and belonging in the isthmus. It argues that the production, circulation, and consumption of stories has led to a trans-isthmian imaginary that splits the region along racial and geographic lines into a white-mestizo Pacific coast, an Indigenous core, and a Black Caribbean. Across five chapters, Jennifer Carolina Gmez Menjvar identifies a series of key moments in the history of the development of this imaginary: Independence, Intervention, Cold-War, Post-Revolutionary, and Digital Age. Gmez Menjvar's analysis ranges from literary beacons such as Rubn Daro and Miguel ngel Asturias to less studied intellectuals such as Wingston Gonzlez and Carl Rigby. The result is a fresh approach to race, the region, and its literature. Black in Print understands Central American Blackness as a set of shifting coordinates plotted on the axes of language, geography, and time as it moves through print media.
Black in Print examines the role of narrative, from traditional writing to new media, in conversations about race and belonging in the isthmus. It argues that the production, circulation, and consumption of stories has led to a trans-isthmian imaginary that splits the region along racial and geographic lines into a white-mestizo Pacific coast, an Indigenous core, and a Black Caribbean. Across five chapters, Jennifer Carolina Gmez Menjvar identifies a series of key moments in the history of the development of this imaginary: Independence, Intervention, Cold-War, Post-Revolutionary, and Digital Age. Gmez Menjvar's analysis ranges from literary beacons such as Rubn Daro and Miguel ngel Asturias to less studied intellectuals such as Wingston Gonzlez and Carl Rigby. The result is a fresh approach to race, the region, and its literature. Black in Print understands Central American Blackness as a set of shifting coordinates plotted on the axes of language, geography, and time as it moves through print media.
