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Lazarillo de Tormes, Libro de Manuel and Match Ball
A New Literary History

 Picaresque Antiheroes h A particularly distinct echo of the Converso experience resounds from the picaresque novel, a literary form that early modern Spain bequeathed to the rest of Europe.1 It is significant that both the Conversos and the picaresque novel were specifically Spanish creations. The Spanish picaresque novel flour- ished in the sixteenth and into the seventeenth century. In its strict form, every story is narrated in the first person, as a fictional autobiography—or an ironic confession—by someone of base or dishonorable origins.2 Born into

4 Picaresque Saints The title of this chapter may seem odd as the phrase ‘picaresque saint’ was coined by r.W.B. Lewis in his study of anti-heroes in the twentieth- century american novel who embody a contradiction between real and ideal worlds.1 Later, in a collection of essays called Chaucer’s Saints, the medievalist ann haskell cites Lewis: ‘this book might easily have been called The Picaresque Saint, if the title had not been pre-empted’ (1). These critics, by using the same critical term in such radically different historical and cultural contexts

killer” in Paris.1 c h a p t e r f i v e Colonial Picaresque The Trans-Mediterranean Investigation of a Migrant c o l o n i a l p i c a r e s q u e100 But based on the consul’s findings, this hypothesis was an outlier. To be sure, no one interviewed thus far had characterized Pranzini as a man of high integrity. Pranzini’s own brother-in-law attested to his “passion for gambling and for money,” and he had little to say that was positive. Pranzi- ni’s acquaintances and employers came forward to tell stories and settle old scores. A schoolmate remembered him as

practice of commerce 4 Soldiers and Sinners: Picaresque 150 Heroic Forms through the trading houses of Seville, service in the king’s armies can improve an individual’s position in the social order and enhance his social worth. The promise of ascent in society is consistent with the narrative trajectory of romance, but in practical terms the rewards of military service in early modern Spain lay principally in escape from the eco- nomic and social restrictions of civilian existence and in the sodality of soldiers. When Cervantes writes about common soldiers who

The Picaresque as Pharmakos The ceremony of the pharmakos is thus played out on the boundary line between the inside and the outside, which has as its function to trace and retrace repeat- edly. Intra muros/extra muros. Origin of difference and division, the pharmakos represents evil both introjected and projected. Jacques Dernda, Dissemination Although I'm a Moor, I well know, by my association with Christians, that holi- ness consists of charity, humility, faith, obedience, and poverty; despite this, I say that he who is content with being poor has much

III THE FEMINIST PICARESQUE 11 INTRODUCTION TO THE FEMINIST PICARESQUE I want to embrace this in some ways absurd oxymoron: the feminist pica- resque. I’ll drop common associations that don’t serve my purpose, but some of those naughty, rejected meanings of picaresque may linger on as irony. In my travels with feminism, I have been neither a rogue nor a maker of mischief — at least not by design. But sometimes I have been bumbling, wandering, disconnected, with no expectation — or intention — of being ac- cepted. I’m not a criminal but I did smuggle U

, locura e ideología en Cervantes y Avellaneda. Madrid: Iberoamericana, 1999. Maravall, José Antonio. Utopia and Counterutopia in the “Quixote.” Trans. Robert W. Felkel. Detroit: Wayne State University Press, 1991. Reed, Walter L. An Exemplary History of the Novel: The Quixotic versus the Picaresque. Chicago: The University of Chicago Press, 1981. Scheub, Harold. Trickster and Hero: Two Characters in the Oral and Written Traditions of the World. Madison: The University of Wisconsin Press, 2012. Stein, Jean. “William Faulkner, The Art of Fiction No. 12.” The Paris Review

2. Picaresque Realism and Magical Realism The development of picaresque criticism has led to the realization that neither an exclusively social nor an exclusively ethical point of view could do justice to the literature of roguery. Claudio Guillen As Francisco Rico has argued, the picaresque is defined by the picaresque point of view, where a 'point of view' in not a technique, a category of an atemporal 'rhetoric of fiction,' but a way of perceiving and manipulating reality. By examining the picaresque point of view or this attitude towards reality, we find the