How do (im)migrant writers negotiate their illustration of a multilingual global for a monolingual viewers? Does their English betray the presence of one other language, is that different language erased, or does it look the following and there, on targeted events for targeted purposes? Do phrases and meanings wander from one language and one self to a different? Do the psychic and cultural worlds of alternative languages break up aside or merge? what's the aesthetic impact of such wandering, splitting, or merging?
frequently defined as "code-switches†? by way of linguists, fragments of different languages have wandered into American literature in English from the start. Wanderwords asks what, within the memoirs, poems, essays, and fiction of numerous 20th and 21st century writers, the functionality and which means of such language migration may be. It indicates what there's to be won if we discover ways to learn migrant writing with an eye fixed, and an ear, for linguistic distinction and it concludes that, freighted with the other-cultural meanings wrapped up of their diversified appears and sounds, wanderwords can practice wonders of poetic signification in addition to cultural critique.
Bringing jointly literary and cultural concept with linguistics in addition to the speculation and heritage of migration, and with psychoanalysis for its realizing of the multilingual subconscious, Wanderwords engages heavily with the paintings of recognized and unheard-of writers akin to Mary Antin and Eva Hoffman, Richard Rodriguez and Junot Díaz, Theresa Hak Kyung Cha and Bharati Mukherjee, Edward Bok and Truus van Bruinessen, Susana Chávez-Silverman and Gustavo Perez-Firmat, Pietro DiDonato and Don DeLillo. In so doing, a poetics of multilingualism unfolds that stretches well past translation into the lingual touch sector of English-with-other-languages that's American literature, belatedly re-connecting with the world.