This essay analyzes the value of an intertextual approach to reading the works of Rudolfo A. Anaya. My intention is not to discuss the influence of other writers on Anaya’s works but, rather, the ways in which Anaya makes reference to authors and titles from multiple literary traditions. I explore the different types of intertextual allusions in Anaya’s works to then concentrate on an in-depth analysis of intertextuality in Anaya’s Sonny Baca quartet. I argue that Anaya uses intertextuality to both represent and transcend culture in a way that blurs the differences between the local and the global, the particular and the universal.
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