...Laura Halperin Abstract In this article, Laura Halperin reads Chicana writer Sandra Cisneros’s The House on Mango Street as a disidentificatory, revisionist, and intersectional collection of fairy tales. Halperin builds on critical scholarship about The House on Mango Street and fairy tales...

..., scholars, the news media, and Hollywood. These films are in multiple genres, including documentaries, dramas, educational films, cartoons (Ray 2010), and even fairy tales (McCormick 20n), and they address trafficking in countries around the globe, including Eastern Europe, Southeast Asia (Cambodia, Burma...

... “engages with the fairy-tale genre while challenging its problematic bases, following and undoing the genre’s trajectory” (325). Similarly, Kristie Soares’s essay “Dominican Futurism: The Speculative Use of Negative Aesthetics in the Work of Rita Indiana” argues that Dominican artist Rita Indiana’s...

.... A few villages down, an old woman sits beside the fire. Having grown into her old-woman skin, she has tales to tell. Tonight, her story is about the water-fairy and her little prince. How body, bones and all, they walked into the river and flowed into the sea. ...

... approaches, skills, and ways of knowing that are too often seen as antithetical and opposing. A PRAXIS OF PARATAXIS 95 Corpi's exemplar is not a neat and tidy practice that dissolves difference or contention. This is no utopia, no fairy-tale rendering of happily ever after. Corpi does not shy away from...

... allows Trenka to analyze how adoptees' identities do not fit into any neatly definable category. She thus "frames her life in terms of 'facts' and reality just as much as she frames it in terms of fairy tales or dreams and no framework is 'truer' than the other" (153). "Truth" as defined by official...

... and sarcasm as she describes it: “But if you saw the old library . . . the beauty of us sitting there like communicants at an altar, taking in . . . the fairy tale of how we met you, your right to do the things you did, how beautiful you were, are, and always will be” (Kincaid 1988 : 42). Kincaid’s...

... with storytelling by admitting that she “did not grow up with a whole lot of Disney or fairy tales” but, rather, with the yarns her peasant mother told her, including “folk legends such as that of the Ciguapa” (Pichardo 2019 ; translated from the original Spanish). 10 Espaillat mentions mastering Greek...