Extos Selectos

The Mestizo/a Community of the Spirit

This work models a creative exercise in ecclesiology based on a Latino/a practical theology of the Spirit, which designs theological discourse based on its encounter with the Spirit in human culture. Hence, it is a theology appreciative of and attentive to the "multiple matrices and intersections" of the Spirit with cultures. Garcia-Johnson offeres an appreciative and critical analysis of the uses of culture among Latino/a theologians, followed by the proposal for a postmodern Spirit-friendly cultural paradigm based on the narratives of the cross and the Pentecost. He develops a practical theology for a Latino/a postmodern ecclesiology based on three native Latino/a theological concepts: mestizaje, accompaniment, and manana eschatology. The resulting ecclesial construct-The Mestizo/a Community of Manana-reflects a transforming manana vision and models the visible cruciform community in which the transforming praxis and historical transcendence of the Christ-Spirit works from within. The work sets forth practical guidelines for implementation of the ecclesial construct in the urban context of devastated communities and offers suggestions for further development in Latino/a theology.

Sounding the Break

The idea of "world literature" has served as a crucial though underappreciated interlocutor for African diasporic writers, informing their involvement in processes of circulation, translation, and revision that have been identified as the hallmarks of the contemporary era of world literature. Yet in spite of their participation in world systems before and after European hegemony, Africa and the African diaspora have been excluded from the networks and archives of world literature. In Sounding the Break, Jason Frydman attempts to redress this exclusion by drawing on historiography, ethnography, and archival sources to show how writers such as W. E. B. Du Bois, Zora Neale Hurston, Alejo Carpentier, Derek Walcott, Maryse Condé, and Toni Morrison have complicated both Eurocentric and Afrocentric categories of literary and cultural production. Through their engagement with and revision of the European world literature discourse, he contends, these writers conjure a deep history of "literary traffic" whose expressions are always already cosmopolitan, embedded in the long histories of cultural and economic exchange between Africa, Asia, and Europe. It is precisely the New World American location of these writers, Frydman concludes, that makes possible this revisionary perspective on the idea of (Old) World literature.

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