"Brilliant. Smith shows us how to bridge and link authors into an understanding of contemporary American literature that occupies shared ground, yet she insists on the imperative of educating ourselves in many U.S. traditions. The result is a book that meets the extremely difficult challenge of working multiculturally without either erasing or overdetermining difference. This discussion will have applications well beyond the group of authors discussed here."--Elizabeth Ammons, coeditor of Tricksterism in Turn-of-the-Century American Literature: A Multicultural Perspective "Transcultural and thoroughly documented, this study of contemporary ethnic texts by women is comparative in the most scholarly sense. No reader of modern American fiction could argue against its trickster premises: the power to laugh at old worlds, and invent new ones."--Kenneth Lincoln, author of Indi'n Humor: Bicultural Play in Native America "Communicates keen insights on fictional techniques and cultural themes in clear, elegant and jargon-free language. I believe that this study will serve as an excellent model for future multicultural literary criticism."--Bonnie TuSmith, author of All My Relatives "Highly accessible to a diverse audience, Writing Tricksters forces readers to examine the power of storytelling traditions to cultural and individual survival. Smith's cross-cultural discussion of the trickster is right on the cusp of an important, evolving analytical direction."--Alanna Kathleen Brown, Montana State University "Few scholars have attempted to find the lines of contact and connection between ethnic writers. Writing Tricksters is fresh and original, an important addition to the growing corpus of truly multicultural critical texts."--Joseph Skerrett, coeditor of Memory, Narrative, and Identity

Writing Tricksters examines the remarkable resurgence of tricksters—ubiquitous shape-shifters who dwell on borders, at crossroads, and between worlds—on the contemporary cultural and literary scene. Depicting a chaotic, multilingual world of colliding and overlapping cultures, many of America's most successful and important women writers are writing tricksters. Taking up works by Maxine Hong Kingston, Louise Erdrich, and Toni Morrison, Jeanne Rosier Smith accessibly weaves together current critical discourses on marginality, ethnicity, feminism, and folklore, illuminating a "trickster aesthetic" central to non-Western storytelling traditions and powerfully informing American literature today. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.

This book analyzes and offers fresh insights into the trickster tradition including African American, American Indian, Euro-American, Asian American, and Latino/a stories, Morgan examines the oral roots of each racial/ethnic group to reveal how each group's history, frustrations, and aspirations have molded the tradition in contemporary literature.

At once criminal and savior, clown and creator, antagonist and mediator, the character of trickster has made frequent appearances in works by writers the world over. Usually a figure both culturally specific and transcendent, trickster leads the way to the unconscious, the concealed, and the seemingly unattainable. This book offers thirteen interpretations of trickster in American writing, including essays on works by African America, Native America, Pacific Rim, and Latino writers, as well as an examination of trickster politics. This collection conveys the trickster's imprint on the modern world.

In Trickster Makes This World, Lewis Hyde brings to life the playful and disruptive side of human imagination as it is embodied in trickster mythology. He first visits the old stories—Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others—and then holds them up against the lives and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Twelve years after its first publication, Trickster Makes This World—authoritative in its scholarship, loose-limbed in its style—has taken its place among the great works of modern cultural criticism. This new edition includes an introduction by Michael Chabon.

Cooling Out: Has the World Changed, or Have I Changed? -- Notes -- Index

Just as Africa and the West have traditionally fit into binaries of Darkness/Enlightenment, Savage/Modern, Ugly/Beautiful, and Ritual/Art, among others, much of Western cultural production rests upon the archetypal binary of Trickster/Epic, with trickster aesthetics and commensurate cultural forms characterizing Africa. Challenging this binary and the exceptionalism that underlies anti-hegemonic efforts even today, this book begins with the scholarly foundations that mapped out African trickster continuities in the United States and excavated the aesthetics of traditional African epic performances. Rutledge locates trickster-like capacities within the epic hero archetype (the "epic trickster" paradigm) and constructs an Homeric Diaspora, which is to say that the modern Homeric performance foundation lies at an absolute time and distance away from the ancient storytelling performance needed to understand the cautionary aesthetic inseparable from epic potential. As traditional epic performances demonstrate, unchecked epic trickster dynamism anticipates not only brutal imperialism and creative diversity, but the greatest threat to everyone, an eco-apocalypse. Relying upon the preeminent scholarship on African-American trickster-heroes, traditional African heroic performances, and cultural studies approaches to Greco-Roman epics, Rutledge traces the epic trickster aesthetic through three seminal African-American novels keenly attuned to the American Homeric Diaspora: Charles Chesnutt’s The Marrow of Tradition, Richard Wright’s Native Son, and Toni Morrison’s Beloved.