Teaching Literature: Canon, Controversy, and the Literary Anthology

Author(s): Barbara Mujica

Source: Hispania , May, 1997, Vol. 80, No. 2 (May, 1997), pp. 203-215
Published by: American Association of Teachers of Spanish and Portuguese

Stable URL: https://www.jstor.org/stable/345879

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TEACHING LITERATURE

Teaching Literature: Canon, Controversy, and th

Literary Anthology
Barbara Mujica
Georgetown University

ABSTRACT: Anthologies have evolved from literary collections of the Middle Ages, reflecting
scholarship, attitudes, and pedagogical needs. Their use brings up questions of canon, content, p
apparatus, types, and focus. Although postmodernist critics reject the notion of canonicity, antholo
tinue to be popular teaching tools.

Key Words: anthologies, teaching literature, canon

Benedict distinguishes between antholo-

nthologies of Spanish and Portu-
gies and "miscellanies." Anthologies in the
guese literature have been around
for centuries. Ever since King modern
Den- sense are historical surveys of lit-
nis of Portugal (1259-1325) compiled erature,
thethat is, compilations of canonical
Cancionero de Ajuda, editors have been
texts; miscellanies, on the other hand, are
gathering together literary selections into
diverse writings pulled together from con-
temporary, fashionable material (3).
collections. The thirteenth and fourteenth
centuries produced the Canzionero Benedict points out that the term "miscel-
portoghese da Vaticana and the Canzionere lany" comes from the Latin miscellane,
portoghese Colocci Brancuti, which contain meaning "a dish of mixed corn." A miscel-
cantigas de amigo and de escarnio, and the lany is a medley, an unordered gathering of
fifteenth produced the earliest Castilianwritings on the same topic or of the same
poetic anthology, the Cancionero de Baena genre, rather than a selective compilation.
(1445), a collection of courtly poetry, whichMiscellanies were, and sometimes still are,
was followed by the more inclusive created by editors with an eye toward sales.
Cancionero de Estifiiga (c. 1460-63). These Their object was not to canonize certain
anthologies, which combined into one vol-texts or authors. In fact, early compilers
ume songs and lyric poetry by several dif-sometimes solicited contributions from the
ferent poets, or sometimes by just one, ini- general public and published them anony-
tiated a long-lasting tradition. Early in the mously (Benedict 7-9). The medieval
sixteenth century, ballads began to appearcancioneros, like today's collections of writ-
in collections, such as the Libro en el qualing by women or minorities are closer to the
se contienen cincuenta romances, publishedmiscellanies tradition.
in Barcelona around 1525. The Antwerp "Anthology," in contrast, is from the
printer Martin Nucio launched a trend with Greek word for "collection of flowers," a
his Cancionero de romances around 1548. term implying selection. The very format of
Collections of poetry, and later of plays, an anthology prompts canon formation, for
were published throughout the Golden
while a miscellany invites short, discon-
Age. nected readings, an anthology invites pro-
Early anthologies, however, were quite longed study. Anthologies convey the no-
different from those produced later on. In tion of evolution (the succession of literary
a study of the development of anthologies movements) and hierarchy (the recognition
in early modern England, Barbara M. of masterpieces). They create and reform

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204 HISPANIA 80 MAY 1997

canons, establish literary reputations, and

it an important tool for the scholar and stu-
help institutionalize the national culture,
dent. In this sense, these books became the
which they reflect. forerunners of the modern teaching anthol-
Golden Age Spain did not produce ogy.true
The intellectual climate in late nine-
anthologies because it lacked two elements
essential to the genre: a large, diverse vol-
teenth- and early twentieth-century Spain
ume of printed literature and an extensive
gave rise to a cornucopia of general and
reading audience able to buy books and anthologies, such as Men6ndez
specialized
devote time to them (Benedict 14). y It was
Pelayo's Antologia de poetas liricos
not until the eighteenth century in castellanos
England (1890-1908). Since the late eigh-
and the nineteenth in Spain that conditions
teenth century, when August and Friedrich
were propitious for the floweringvonof Schlegel
the and then J. N. Baihl de Faber
modern anthology. At that time, thefocused
compi-their research on Spain, German
lation of texts began to pass from scholars
the do-had compiled anthologies. Follow-
main of booksellers and editors to that of
ing Btihl de Faber's Floresta de rimas
scholars. With the professionalization of lit-antiguas castellanas (1821-25) and Teatro
erature, the anthology became a vehicle anterior a Lope de Vega (1832), both pro-
through which a cultural elite could incul- duced in Germany, Wilhelm Junemann pub-
cate critical literary values. "As anthologies lished Historia de la literatura espafnola y
reprint material in different settings andantologia de la misma (1921), also in Ger-
according to different principles," writesmany. Equally significant are the contribu-
Benedict, "they strip it of its historical and tions of the French Hispanist Raimond
political contexts. Texts become dehistori-Foulch&-Delbosc, founder of the Revue
cized, depoliticized, and hence 'timeless,' Hispanique (1894-1933) and the Biblioteca
immortal..." (6-7). Such works become in- Hispainica. As editor of the Biblioteca,
stitutionalized into a canon that helps defineFoulch&-Delbosc prepared or oversaw 80
the national culture. They are taught to critical editions of major Spanish works,
school children, perpetuating the nation'sincluding a Cancio-nero castellano del siglo
sense of collective identity. XV. Early in the century, several antholo-
In Spain, the Biblioteca de Autores gies of Latin American literature were also
Espafioles was instrumental in this process. compiled, among them Miguel Rivas' El
Started in 1846 under the direction of Carles libro de oro de la literatura
Aribau and Manuel Rivadeneyra, the BAEhispanoamericana: antologia de l
provided the most extensive collection of
poetasyprosistas de nuestra habla,
Spanish literature then available. It included de un resumen hist6rico de la l
collections of works representing a varietyespafiola (1933).
of writers and periods. By 1880, when pub- The spirit of investigation spu
lication ceased for the first time, the BAEpublication of a plethora of histor
had published 71 volumes. After Marcelinoish literature. Projects such as M
Menendez y Pelayo took over as director of Pelayo's Historia de las ideas es
the series in 1898, the BAE made tremen-Espafia (1883-84) and Origenes d
dous strides. Editions such as those of the espafiola (1905-10), as well as
Cr6nica general,' by Menendez Pidal, andPidal's numerous studies of the medieval
the Libros de caballerias, by Alonso deepic and romanceros, contributed greatly to
Bonilla, contributed immensely to the na-
the development of the consciousness of a
tional consciousness of a Spanish literature. Spanish literary history. Historia de la
Taken as a whole, the series formed an ex-literatura espaniola (1898), by the British
tended anthology, significant not only be-Hispanist James Fitzmaurice Kelly, and
cause of its breadth and textual accuracy,Foulch&-Delbosc's Manuel de l'hispanisant
but also because each volume included in- (1920-25), prepared in collaboration with
troductory studies and notes, thus making Barrau-Dihigo, became important sources

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 TEACHING LITERATURE: CANON 205

of information for students. of scholars and students with a reference

The anthologies of the late nineteenth
tool that served not only in the classroom,
and early twentieth centuries, produced by
but beyond.
academics, were used as teaching tools in Del Rio taught for over thirty
Although
secondary schools and universitiesyears
in Spain
in the United States at New York Uni-
and also found a market among the versity,
culturedColumbia, and Middlebury, his an-
thologies
reading elite. Designed for Spaniards, they and histories were similar to
generally included introductions and notes
those produced in Spain. They were written
but did not offer extensive guidance to the
entirely in Spanish and directed at a student
non-native student. As Spanish literature
population fluent in the language and con-
increased in popularity as a subjectversant in
with the culture; they evidenced
American schools early in the twentieth
little awareness of linguistic or cultural
century, anthologies and histories began to that American students might
difficulties
be published in the United States.encounter
One ex-or regard for course level. Del
ample is Miguel Romera-Navarro's Rio's anthology was used as a textbook in
survey courses, and also as a reference
Antologia de la literatura espafiola, desde los
origenes hasta principios del siglo XIX
source for graduate students. A mammoth
(1933), published by D.C. Heath, in Boston.
endeavor that took decades to compile, it
During and after the Civil War in Spain, included more material than could be cov-
many of the country's intellectuals settled
ered in any course. It was therefore up to
in the United States and became professors
instructors to select those readings appro-
at American universities, boosting interest
priate to their needs and make them com-
in Spanish literature. prehensible to their students.
Around mid-century, several influential In contrast, anthologies prepared by
anthologies of Spanish and Spanish Ameri-American academics usually offered intro-
can literature appeared in the U.S. and ductions and copious notes in English. An-
Spain, among them Angel del Rio's Anto- thologies such as Representative Spanish
logia general de la literatura espafiola (1953,Authors I and II (1942, 1963, 1971), by
1960), Guillermo Diaz-Plaja's four-volume
Walter T. Pattison and Donald W. Bleznick,
Antologia mayor de la literatura espan~ola
and An Anthology of Spanish American Lit-
(1958-61) and Antologia mayor de la erature I and II (1946), by E. Herman
literatura hispanoamericana (1969), Hespelt et. al., unlike the Del Rio volumes,
German Bleiberg's Antologia de la litera-
clearly targeted the survey course. They
tura espa*0ola, Martin de Riquer's Antologia
contained short, manageable selections that
de la literatura espafiola e hispanoameri- could be covered in a class period, notes
cana (1965), Enrique Anderson-Imbert's designed specifically for American stu-
Literatura hispanoamericana (1970), dents, and and in some cases a Spanish-English
Jose Maria Carrascal's Antologia de vocabulary,
la but few other pedagogical aids
literatura espafiola (1976). These volumes (content questions, themes for discussion
and composition, etc.). A major drawback
were, in their day, instrumental in establish-
ing which texts would be studied in Ameri-was that editors omitted important works
can universities.The most widely used because
was of space or format concerns. No
Angel del Rio's two-volume Literatura
play by Tirso or Calder6n appears in Repre-
espan~ola, published by Holt, Rinehartsentative
& Spanish Authors, andAn Anthology
Winston and popular throughout the fifties,
of Spanish American Literature omits the
sixties, and seventies. In conjunction with
late nineteenth- and twentieth-century novel
Del Rio's two-volume Historia de la because, as the editors explain in the Pref-
literatura espafola, originally published by were unable to find short, coher-
ace, they
Holt in 1948 and reedited repeatedly, ent, representative segments. Another
these
anthologies constituted a complete course
problem was that the English framework
in Spanish literature, providing generations
seemed to decontextualize the readings. In

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206 HISPANIA 80 MAY 1997

neglected
the 1950s and 1960s foreign languages were writers such as Pedro
Monteng6n, Ignacio Garcia Malo, and
often taught through translation. Literature
courses were not seen as part of the total Maria de Trigueros. The historical
CQndido
language-learning experience, andnovel many of the early nineteenth century is rep-
American Spanish professors lectured resented
in by Francisco Navarro Villoslada
English, so the anthologies reflected and the
Manuel Fernandez y Gonzilez, as well
predominance of English in university as by the more commonly studied Enrique
Spanish programs. Gil y Carrasco. The novela de costumbres
Anthologies reflect changes in scholar- contempordneas of the first half of the nine-
ship, attitudes, and pedagogical needs. teenthFor century, absent from Del Rio's an-
example, in 1980, aware that scholarship thology, is represented by Estanislao de
had advanced considerably since the Cosca
pub- Vayo and Gertrudis de Avellaneda.
The volume also demonstrates that baroque
lication of these then-standard anthologies,
I undertook the compilation of a new did not end with Calder6n through ex-
anthol-
ogy, the first two volumes of which were
amples taken from transition poets such as
published by John Wiley and Sons Alfonso in 1991Verdugo y Castilla and Jos6 Porcel,
asAntologia de la literatura espaiola: andEdad
dramatists such as Jose de Cafiizares.
media (edited in collaboration with Amanda Although specialists have long recognized
Curry) and Antologia de la literatura the staying-power of baroque, existing an-
espaiiola: Renacimiento y Siglo de Oro. thologies
The ignore the late-baroque writers.
anthology expands the canon through The volume
the further includes authors like
inclusion of selections from significant Maria
textsGertrudis de Hore and Concepci6n
omitted from the Del Rio anthology-for Arenal, who were appreciated in their day
example, Libro de los enganos, Libro butdearelos
ignored in modern anthologies.
gatos, El caballero del cisne, Alonso Ntifiez Writers of anthologies have to make
de Reinoso's Los amores de Clareo y tough decisions about which authors to in-
Florisea, and Gabriel de Corral's La Cintiaclude, a task that is particularly difficult in
de Aranjuez. Francisco Delicado's La twentieth-century studies. For example, the
Lozana Andaluza, for years considered tootwentieth-century volume of the Mujica an-
risqu6 to include in teaching anthologies, is thology includes an up-to-date selection of
also represented, as are the works of sev-texts. In addition to a substantial array of
eral previously neglected women writers,authors of the post-Franco period-Fran-
such as Leonor L6pez de C6rdoba and cisco Nieva, Esther Tusquets, Antonio Gala,
Teresa de Cartagena. Another importantJose Luis Alonso de Santos, Eduardo
inclusion is La picara Justina, attributed to Mendoza, Pere Gimferrer, Soledad
Francisco L6pez de Ubeda. Future revi-Puertolas- it contains works of younger
sions would necessarily have to incorporate writers, such as Javier Marias, Rosa
selections by the women cancionero poetsMontero, Jon Juariste, Antonio Mufioz
and Golden Age playwrights like Ana Caro Molina, and Juan Manuel de Prada.
and Maria de Zayas, whose work has been Another new general anthology that pur-
the subject of important new scholarship.ports to incorporate contemporary authors
The third volume, to be published in into the canon is Literatura espaniola (1995),
1998 and prepared with Eva Florensa, like- by David William Foster, which neverthe-
wise reflects recent research on eighteenth-less omits the major fiction writers (Laforet,
and nineteenth-century Spanish literatureMatute, Sinchez Ferlosio, etc.), dramatists
and advances a more accurate vision of the (Casona, Buero Vallejo, Sastre) and poets
period than previous collections. It contra- (Celaya, Bousoiho) after Luis Cernuda and
dicts the long-held notion that the novel was Ram6n Sender, both born in 1902, and skips
not a significant genre during the eigh- to Adelaida Garcia Morales (194?) and
teenth and early nineteenth centuries by Paloma Pedrero (1957).
providing ample examples of the fiction of Today's anthologies take into consider-

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 TEACHING LITERATURE: CANON 207

English
ation the linguistic abilities and cultural for-or simple Spanish, extensive notes
mation of American students. Antologianot onlydeto clarify obscure terms but also to
la literatura espaniola, for example, translate
providesdifficult lexical items, content and
in-depth introductions in simple thought
Spanish questions, guides to facilitate liter-
and glosses that clarify not only ary obscure
analysis, themes for composition, bibli-
words and historical references, but also a suggesting further reading, and
ographies
host of vocabulary items, literarya terms,
Spanish-English glossary. Recent ex-
names, and dates unfamiliar to most non-
amples of this type of anthology include
native students. Voces de Hispanoam6rica, by Raquel Chang-
While large, multi-volume anthologies Rodriguez (1996); Hispanoam"rica en su
that cover a wide spectrum of writing were literatura (1993), by Nicholson B. Adams,
once the norm in American colleges and John E. Keller, John M. Fein, and Elizabeth
universities, in today's market their appeal Daniel; Espaia en su literatura (1991), by
is more limited. They are still used in highly Nicholson B. Adams, John E. Keller, and
competitive universities for undergraduate Rafael A. Aguirre; my own Texto y vida:
surveys, but in other types of institutionsIntroducci6n a la literatura espafiola (1990)
they are often reserved for advanced and Texto y vida: Introducci6n a la literatura
courses. In some universities instructors
hispanoamericana (1992). Market research
have selected texts from general antholo-
shows that for beginning literature courses,
instructors favor books with a well devel-
gies and adapted them to the needs of their
students, adding questions and study oped pedagogical apparatus and ample se-
lections by contemporary writers. These
guides. Some prefer large, general antholo-
gies because these provide a wide range preferences
of are reflected in anthologies
material from which to choose, thereby such
giv- as the newest edition of Espana en su
ing them flexibility in designing their literatura, by Adams et al., which provides
courses. Multi-volume anthologies area es- limited but representative selection from
pecially adaptable to period courses-for all periods, with a broad choice of contem-
example, Medieval Literature, Twentieth- porary writers, including Jose Maria
Century Literature. Guelbenzu, Carme Riera, and Rosa
Recent trends have been away from Montero.
the
massive, Del Rio-style, general anthology Editors of anthologies must take into
account that such books are designed to be
and toward the one-volume, course-specific
marketable and profitable for the compa-
anthology. The principal aim of such books
is not to establish or expand the generalnies that publish them. Because high pro-
canon (although some do so through the duction costs reduce profit margins, pub-
inclusion of new writers), but to providelishers engage in extensive market re-
search to determine the length and con-
instructors with a serviceable teaching tool.
Of limited length and scope, these antholo-
tents of a book, and impose restrictions with
gies define what Wendell Harris calls regard
the to the amounts that can be spent on
"pedagogical canon"-the selective body of
permissions, illustrations, even paper. Since
works commonly taught in classrooms permissions for the use of works by best-
(113). Most target the undergraduate sur-selling authors such as Camilo Jose Cela,
vey or third-year composition and literature
Gabriel Garcia Mairquez, or Isabel Allende
courses. Easily adaptable to a one-semester,
(represented by the Carmen Balcells Liter-
ary Agency) can run into thousands of dol-
two-semester, or trimester format, they con-
tain a limited number of short readings, lars, editors are forced to limit the number
most of which can be covered in one or two
of pages devoted to these authors or to omit
class periods. While the general anthology
their work entirely. Furthermore, publish-
provides little assistance to the instructor,
ers routinely restrict book length, forcing
these anthologies usually include one editors
or to exclude some worthwhile writers.
more of the following: an introduction in Although anthologies represent an "au-

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208 HISPANIA 80 MAY 1997

for a more
thoritative selection," they do not assume a open approach to teaching litera-
passive audience. From the beginning, an-unusual good humor in a contro-
ture. With
thologies have always invited comparison
versy that often degenerates into invective,
and judgment, as readers formulated Sandra Gilbert and Susan Gubar describe
their
the
own preferences from the offerings. Incontroversy
the as a soap opera in their hi-
larious book, Masterpiece Theater. An Aca-
case of teaching anthologies, as instructors
demic
make their favorites known, point out Melodrama. They describe the play-
lacu-
nae, and supplement the textbook, ersthey
as either "Back to Basics" advocates,
champions of a stable curriculum based on
contribute to the process of reformulation
humanistic wisdom and defenders of the
of the canon. Furthermore, they influence
the process through their purchasingcanon against the onslaught of the "new
power; those anthologies that respond to
barbarians," or as "Into the Future" gurus
the market's wants and needs are the ones who fear that the "canonists" will return so-
that sell. ciety "to a basically white, middle-class, and
In recent years the nature and content ofmasculinist definition of culture" (xv). Gil-
anthologies have come into question. Post-bert and Gubar describe the quandary of
modernism, with its emphasis on subjectiv- many academics: they are committed to in-
ity, diversity, and decentralization of power,tellectual innovation and are sympathetic to
is at odds with the very principle of antholo-the concerns of feminists and minorities,
gies, which propose a hierarchical yet are put off by the vehemence and irra-
classification of literature as determined by tionality of some of these groups' defenders.
an intellectual elite. Foucault's exploration And while they are revulsed by the self-righ-
of the nature and essence of order and his teousness of some traditionalists, they are
insistence that our inherited systems and attracted by the modesty that shapes the
stratifications are not the only ones have "Back to Basics" attitude toward great art
been influential in provoking a new scrutiny and authors.
of the instruments our society uses to safe- The advocates of inclusion have scruti-
guard its institutions, including its literary nized teaching anthologies and found them
institutions. New historicists argue that the lacking. For example, Barbara Pace con-
traditional notion of history of literature is cludes that these books bolster the power
too exclusionist. They reject the concept ofstructure by omitting dissenting voices.
"timeless" art and universal truths, alleging John Sandman notes that not only writing
that ideals commonly promoted as "univer- by women and African-Americans is miss-
sal" are those of the power elite. By canon- ing from teaching anthologies, but so is ex-
izing some texts and omitting others, they perimental fiction. Arthur N. Applebee, in
argue, professionals propagate and perpetu- a study of 42 high school anthologies, con-
ate the values of the ruling class. Teachingcludes that the pedagogical canon has ac-
anthologies and histories of literature are tually narrowed: Volumes for use in grades
actually instruments of indoctrination, they 7 through 10 did expand their selections to
contend, inculcating these values in the include more works by women and non-
next generation and thereby preserving the Western writers, but those intended for
structure and inequities of society. Jane upper-grade courses in American or British
Tompkins has been among the most literature still contain few works by women
influential purveyors of the notion that aand people of color. Although these studies
writer's entry into the canon reflects above focus on English courses, analyses relevant
all else his or her conformity with the ide- to Spanish courses have been done as well.
als of the dominant political and intellectual Edward J. Mullen, in 'The Teaching Anthol-
elite. ogy and the Hermeneutics of Race," exam-
Participants in the debate are divided ines the position of the Cuban writer
into two main camps: those who defend the Pltcido. Joan L. Brown and Crista Johnson
teaching of the canon and those who argue surveyed graduate reading lists of 58 lead-

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 TEACHING LITERATURE: CANON 209

ing universities and found that both Following

in along the same lines, Harold
Bloom argues in The Western Canon tha
courses on Spanish and Spanish American
works are canonical not because they rep
literature, women are hardly represented.
Brown and Johnson come to another,
resent a particular ideology or teach mor
values,
equally significant conclusion: with respect but because they are aesthetically
superior and have borne the test of time
to contemporary fiction, no canon actually
exists. Only one Spanish novel and These are works that serve as models of
three
Spanish American novels appeared excellence
on the and warrant being studied be-
lists of 75 percent of the programscausesur-
of their aesthetic qualities. "Nothing
veyed. In Literature, Culture and is so essential to the Western Canon as its
Society,
Andrew Milner raises the issue of film in theof selectivity," he writes, "which
principles
are never
canon, concluding that, since film can elitist only to the extent that they are
be included among the "sacred texts,"foundedit upon severely artistic criteria" (22).
may be time to give up on the idea ofLikecanon
Fowler, Bloom sees the canon as fluid,
altogether (178). Increasingly, academics-
with new works entering continually. How-
Cornel West, Jan Gorak, Paul Julian ever, he opposes admitting works on any
Smith-are advancing the notion of butmul-
aesthetic grounds and rails against
tiple, minority, or alternate canons,those who value diversity above excellence.
or are
Edward Said, although an avid defender
proposing to abolish the canon completely.
of non-Western cultures and of cultural di-
Literary studies are giving way to "cultural
versity,
studies," which require a different breed ofdefends the canon, arguing that
textbook-or no textbook at all. Anthony
"one of the great fallacies ... has been the
one
Easthope argues that although "pure" that suggests you, first of all, show how
litera-
thedying;
ture remains institutionalized, it is canon is the result of a conspiracy-a
yet, a more comprehensive analysis ofofcul-
sort white male cabal.... I'm very conser-
vative
ture is still struggling to be born. He in the sense that I think that there is
advo-
cates a curriculum that consists of a something
combi- to be said ... for aspects of work
nation of literary-including traditionally
that has persisted and endured and has ac-
quired and
canonical-texts and more popular forms of accreted to it a huge mass of
expression. differing interpretations" (52-53). He al-
Actually, the so-called traditionalists
leges that replacing the traditional canon
have never seen the canon as a fixed with body
one composed of marginalized writers
only
of literature, but as an ever-evolving reinforces the concept of canon, sub-
corpus
formed of works that stood the test stituting
of timeone authority for another, and pro-
on esthetic grounds. Alastair Fowlerposes broadening and neutralizing the
differ-
entiates among different types ofcanoncanon.
by assimilating into it other "contra-
puntal lines" (53).
The potential canon includes all literature;
the accessible canon, those books that Likeare
Gilbert and Gubar, many scholars
have
available; the selective canon, specific sought a middle ground, a rational
works
that have been singled out for study, compromise
such between traditionalists and
as those that comprise anthologies;
multi-culturalists.
the Biddy Martin warns
critical canon, those works that have againstthe
the dangers of extremist positions,
subject of critical study; the officialwhich
canon,ultimately paralyze dialogue. While
books that fall into the second, third, and
sensitive to the aims of cultural studies, she
fourth categories; and the personal canon,
argues that students also need "knowledge
that can only be acquired slowly and
the preferred readings of a given individual.
These categories are not distinct through
and iso- reading texts of all kinds, notably
lated, but overlap; the canon is not static,
literary texts" (12). Jerry McGuire also calls
but changes and develops as new on works
the academy to balance the claims of the
become accessible and then subject to
twocriti-
groups, both of which he sees as legiti-
cal scrutiny and classroom study. mate.

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210 HISPANIA 80 MAY 1997

tors in-
In an effort to please everyone, some assign more readings on critical
structors may attempt to "cover" method
the clas-than actual works of literature. As
sics, while at the same time incorporating
a result, Spanish majors may graduate with-
out ever
works by women and non-white writers intohaving read Calder6n or Clarin or
their syllabi, using a standard anthology
Baroja. At my university, graduate students
and then supplementing it with extra read-that it really isn't essential to read
whisper
ings. As Martha J. Cutter points out, thison the reading list; what you need
the works
results in "overstuffed" courses. Cutter's to know is the criticism.
solution is to view the canon as a palimp- According to Edward Said, the passion
sest, a text that is constantly rewritten, re-
for theory is subsiding:
vised, erased, and repeated. This, argues
Look at the result of all the massive infusion that ...
Cutter, would allow us to avoid the para-
cultural studies ... have received through 'theory' in
digm of teaching either classic or marginal
the last thirty years: structuralism, poststructuralism,
texts. The purpose of the survey coursedeconstruction, semiotics, Marxism, feminism, all of
would become "not 'covering' a specific
it. Effectively they're all weightless, I mean they all
body of texts (whether classic or not), but
represent academic choices and a lot of them are not
related to the circumstances that originally gave rise
uncovering dialectical relationships be-
to them.... Most students... the good students... are
tween texts and subtexts" (121). However,
really no longer interested in theory. They're inter-
it is not clear exactly how this will be
ested in these historical cultural contests that have
achieved if students are not already famil-
characterized the history of the late twentieth century.
iar with a wide range of canonical works.(56)
John Sandman's response to "overstuffed"
courses is to toss out traditional anthologies William J. Savage, Jr. points out that criti-
in favor of single author collections, whichcal approaches can themselves become ca-
allows instructors to examine fewer authors nonical. He argues that New Critical meth-
in greater depth. ods of reading, with their focus on text, their
The issue is not only what should be
view of the literary work as a discrete unit,
taught but also how it should be taught. The
and their emphasis on close reading to find
apologists of postmodernism claim that old-hidden meanings, have become so widely
style anthologies do not develop criticalaccepted that they are rarely questioned, an
thinking, fostering passive acceptance of idea echoed by Peter J. Rabinowitz in his
authority with their pre-packaged literary article "Against Close Reading." Ultimately,
"gospel." For some, the method of analysis argues Savage, neither the approach nor
the texts really matter, as long as instruc-
is more important than the text itself. Criti-
cal theory-the system of assumptions that tors adhere to the canonical methodology,
underlies our approach to a text-is not that is, as long as they present their mate-
new; Terry Eagleton points out that modemrial through lectures, with the opinions of
the professor constituting authority.
criticism began to develop in the eighteenth
century in England as a cultural force
Whether they use anthologies or compose
among the emerging liberal bourgeoisie
their own reading lists, professors dissect,
(10). In other words, critical theory devel-decipher and interpret the text, then impart
oped about the same time as anthologiestheir findings to students, who accept them
themselves. Early literary historians and passively. Savage argues for a noncanonical
anthologists such as Men6ndez Pelayo cer- way of teaching that does not fix authority
tainly had their own critical theories, al- exclusively with the professor but rather
though they did not always articulate themcreates an atmosphere of open-mindedness
as such. But now critical theory has taken that stimulates questioning and makes stu-
on a life of its own; the critical mold within
dents open to others' experiences.
which one works is a topic for heated argu- Elaine Millard also argues against New
ment at professional meetings. Even in un- Criticism, preferring methods that relate
dergraduate survey courses, some instruc- texts to the broader culture and highlight

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 TEACHING LITERATURE: CANON 211

instances of intertextuality, while Peter

in a foreign
J. language may seem as difficult
Rabinowitz calls for "pluralism"-the use of
to non-native students as learning the lan-
guage itself. In traditional survey courses,
a variety of perspectives and interpretive
strategies that vary according to students
the textare asked to read the text only
and the reader's purpose. What is once,
the and
roleinevitably, they misinterpret and
of anthologies in promoting newoverlook
criticalsignificant amounts of material.
approaches? What kind of apparatusKeller suggests a number of pre-reading
should
they include in order to engage students
and out-of-class reading activities that take
actively in critical analysis while at into
the consideration
same the students' own intel-
time keeping their focus on the text? lectual
Mostand cultural formation, thereby en-
high school anthologies, notes Arthur
hancingN.
class discussion and strengthening
thedevel-
Applebee, provide little apparatus for language component of the literature
oping students' critical thinking course.
ability.
While the selections may be thought-pro-
Like the literary and critical canon
represent,
voking, pedagogical devices to elicit discus- anthologies evolve, inco
sion are lacking. The Texto y vida ing
antholo-
new texts, information, and ped
gies address this problem through a Today,
section in spite of the objections
after every reading called "Hacia eltheorists,
anAlsis teaching anthologies con
literario," the purpose of which is tobe
intro-
enormously popular, for they are
nient
duce diverse ways of approaching a text. In and much cheaper for stude
another of my anthologies, Premio school
N6bel systems to buy than large n
(1997), each literary selection is preceded
of individual books. Furthermore, th
by an introduction by a different vide ample opportunities for anal
critic,
which provides students with examplescomparison.
of Most Spanish antholog
various methods of analysis. Thought ques-
offer an up-to-date selection of auth
well
tions require students to focus on the as a variety of pedagogical aid
intro-
As Barbara Benedict points out, a
ductions as well as the literary selections.
gies tell us as much about the cultu
While instructors of foreign literatures
produce them as about the writer
grapple with many of the same pedagogical
issues as their colleagues in Englishshowcase.
depart- The anthologies of the
60s reflected
ments, they must also deal with special is- a patriarchal vision
sues, namely, their students' lack ofspect for intellectual authority. The
linguis-
tic and cultural proficiency. The survey is of society and culture now tak-
redefinition
ingunder-
usually the first literature course that place has led to a plethora of new an-
thologies,
graduates take. Most are not fluent in themany of which were not con-
ceived as teaching tools, but which can be
language; yet at this point, their instruction
incorporated
in oral Spanish stops if the instructor ad- into the curriculum either as
heres exclusively to a lecture format-one
supplements in surveys or as primary texts
that is still widely used in literatureincourses.
monographic courses. In many ways,
In order to ensure that the survey these new collections are reminiscent of the
course
early lan-
remains an integral part of the students' miscellanies. However, while the mis-
guage-learning experience, instructors
cellanies resisted canonizing, the object of
need to incorporate strategies for many
develop-
of these new volumes, generally com-
ing speaking as well as reading piledcompe-
by academics, is to expand the canon
or to offer
tence. Even when the textbook provides a an alternate canon.
pedagogical apparatus, it is still up Atosignificant
in- development is the profu-
sion of
structors to integrate oral production new anthologies of Spanish Ameri-
into
their courses. can writing in English. As the global village
Instructors using anthologies must also shrinks, as national literatures become uni-
develop reading strategies. Betsy Keller versalized, and as concern for diversity
grows, these collections are used increas-
stresses that acquiring literary competence

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212 HISPANIA 80 MAY 1997

ingly in English department courses.gies

At published
the abroad target local readers
same time, many new anthologies are rather than American students, many are
avail-
appropriate for use in courses in the U.S.
able in Spanish or in bilingual editions.
During the past two decades every Latin
The following are some types of antholo-
gies available today. American country has produced antholo-
gies of national literature. Although it would
National and Ethnic Anthologies be impossible to name even a fraction of
These bring together the worksthem, two fairly recent examples are
of au-
thors of a common national or ethnic back- Antologia del cuento corto colombiano
ground, as in Boricuas: Influential Puerto (1994), by Guillermo Bustamante Zamudio
Rican Writing-An Anthology (1995), by and Harold Kr6mer, and Antologia del
Roberto Santiago; Remaking a Lost Har- cuento chileno (1987), by Alfonso Calder6n,
mony: Stories from the Hispanic Caribbean Pedro Lastra, and Carlos Santander. Be-
(1995), by Margarite Fernandez Olmos and cause plays in Spanish are often difficult to
Lizabeth Paravisini-Gebert; and Contempo- find, of particular significance are the the-
rary Short Stories from Central America ater anthologies published by the Fondo de
(1994), by Enrique Jaramillo Levi and Cultura Econ6mica: Teatro venezolano
Leland H. Chambers, all published in En- contempordneo (1991), Teatro mexicano
glish contempordneo (1991), Teatro uruguayo
These collections were not conceived contempordneo (1992), etc. National and
primarily as teaching tools, but as ethnic anthologies provide a convenient
affirmations of a national or ethnic litera- overview of the evolution of the writing of a
ture. Santiago sees his book, according to particular group or of a particular genre
the Introduction, as a validation of a culture cultivated by that group. In Latin America,
that has often been marginalized by the as in the United States, ethnic anthologies
American literary mainstream. Many of the sometimes serve to highlight minority liter-
selections deal with the relationship be- ary traditions within the mainstream na-
tween Puerto Rico and the United States, tional culture. A case in point is La literatura
and the fact that he published Boricuas in oral tradicional de los indigenas de Mixico
English attests to the importance he at- (1983), by Liliin Scheffler.
taches to reaching a broad North American Some anthologists include writers sim-
readership. Similarly, Jaramillo Levi and ply because they belong to a particular na-
Chambers point out that, with the exception tional or ethnic group, but many impose rig-
of Asturias, fiction writers from Central orous standards. They perform an invalu-
America have not enjoyed international ac- able service by familiarizing readers with
claim, a situation they hope their anthology little known but highly gifted writers who
will help rectify. have poor access to large commercial pub-
Roberta Kalechofsky's widely read lishers, which are often reluctant to issue
Echad: An Anthology ofLatin American Jew- books by newcomers with no name recog-
ish Writing (1980) brought to light a wealth nition. These anthologists are sometimes
of literary contributions by Hispanic Jewish responsible for establishing new, expanded
writers whose work had been largely over- national canons that include broader spec-
looked in their native countries, as well as tra of writers. Ultimately, the best of these
abroad. Her Global Anthology of Jewish writers may find their way into the interna-
Women Writers (1990) brings some of those tional arena.
authors into the literary mainstream, as
does Elba Birmingham-Pokorny's An En- Thematic Anthologies, Anthologies of
glish Anthology of Afro-Hispanic Writers in Women's Writing, Focus Anthologies
the Twentieth Century (1994) for black His- Thematic anthologies bring together
panic authors. writings on a particular topic, providing di-
Although national and ethnic antholo- verse perspectives on an issue and showing

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 TEACHING LITERATURE: CANON 213

The "focus anthology" combines work

how different literary artists-poets, drama-
tists, essayists, fiction writers-treat a
by disparate writers united by some com-
theme. The range of topics covered mon element. The focus may be a prize as
by such
anthologies is enormous. Mirza Gonzdlez's
in my Premio Ndbel: Once grandes escritores
del mundo hispdnico (1997), a particular
Literatura revolucionaria hispanoameri-
cana (1994), Robert Marquez's bilingual
period, as in Dennis P. Seniffs Antologia de
Latin American Revolutionary Poetry
la literatura hispdnica medieval (1992), or
a particular generation or genre, as in
(1974), Mauricio Lee Gardo's Confesiones
Emilio Carballido's anthologies of young
para un genocidio: antologia de la represidn
en Latino America (1987), and Mexican
Anibalplaywrights.
Iturieta's El pensamiento peronista (1990)
Anthologies of Critical Studies
are anthologies organized around political
themes. Sometimes such volumes are During
pre- the last two decades, collections
of critical
pared by political organizations seeking to studies, among them conference
advance their cause, as in the case of La
proceedings and Festschriften, have bur-
geoned.XIX
mujery el movimiento obrero en el siglo This type of anthology is helpful to
professors who teach literature as well as to
(1975), published by the Centro de Estudios
Hist6ricos del Movimiento Obrero graduate students and undergraduates in
Mexicano. upper-level courses who may wish to
supplement their readings. They may be
A completely different type of thematic
anthology is Laura Freixas' Madres e hijas
dedicated to a particular theme (The Golden
Age Comedia [1994], edited by Charles
(1996), on mother-daughter relationships,
a topic that was practically inexistent Ganelin
in and Howard Mancing), author
Spanish literature before this century. (Jorge Luis Borges [1986], edited by Harold
Bloom) or period (Rewriting the Renais-
Madres e hijas features stories by respected
sance [1986], edited by Margaret W.
Spanish women writers, from Rosa Chacel
(1898-1994) to Luisa Castro (1966-). In-
Ferguson, Maureen Quilligan, and NancyJ.
Vickers).
deed, collections of women's writing are
among the fastest growing types of anthol- Anthologies cover a wide range of func-
tions and objectives in relation to teaching
ogy, responding to feminist concerns and
literature. Today, ethnic, thematic, and
market demand. An important factor is re-
search, cited by Freixas, showing that the women's anthologies have been instrumen-
majority of readers of popular fiction, tal inin forcing a reevaluation and expansion
Spanish-speaking countries as in the United of the canon. Many have been commercial
States, are women (8). Two examples are successes. Some American publishers,
Ang6lica Gorodischer's Mujeres de palabra such as White Pine Press, have begun to
(1994) and Ana Maria Fagundo's Literatura specialize in anthologies of Hispanic writ-
femenina de Espaila y las Americas (1995). ing, and most major American educational
Marjorie Agosin's collections in English, publishing companies offer at least one
Landscapes of a New Land: Short Fiction by teaching anthology. However, large-scale
Latin American Women (1989), Secret anthologies are in danger, and not only be-
Weavers: Stories of the Fantastic by Womencause of controversy over the canon. Many
of Argentina and Chile (1992), and What Ispublishers are no longer willing to under-
Secret: Stories by Chilean Women (1995), as take massive projects that require years to
well as her bilingual poetry anthology, Theserealize and large investments in editorial
Are Not Sweet Girls (1994), give Latin time, permissions, printing, and paper, es-
American women writers exposure in thepecially when, according to editors I con-
United States. Organized thematically,sulted, market research indicates that in-
these anthologies highlight the bonds structors favor one-volume anthologies with
among women, their common obsessions, a limited number of selections and a well-
preoccupations, hopes, fears, and needs. developed pedagogical apparatus.

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214 HISPANIA 80 MAY 1997

Although commercial publishers fermay be introductions, a wide selection of

meaty
concerned with incorporating thereadings,
newesta variety of critical perspectives,
critical research and providing theandmost
ample bibliographies perform functions
accurate view possible of literary periods,
that short, limited anthologies cannot. They
their primary interest is profit. This
furnish
is notsamples of a huge range of writing,
to imply that publishers do not care about
propose broad revisions in the canon, pro-
quality and accuracy. On the contrary, ev-access to less available texts, and
vide easy
ery commercial company I have worked
stimulate the intellectual curiosity of stu-
with has assigned highly qualified dents.
readersSuch anthologies speak to the needs
to my books-sometimes as many as of scholars and students at different levels.
twenty. These readers, all respected aca- Perhaps putting these works on CD ROM
demics from major universities, have of-would be one way to continue producing
fered invaluable advice, which in manythem while still keeping costs down. But
cases has led to my making revisions basedone thing is certain: If we allow commercial
on their up-to-the-minute research. Indeed, considerations to eliminate this type of an-
I have found both the acceptance and thethology completely, we do future genera-
editorial processes extremely rigorous intions a grave disservice.
commercial publishing. Unlike most univer-
sity presses, commercial publishers have * NOTES
ample resources to invest in staff and out-
side readers, and because sales are their 1Due to space constraints, anthologies mentioned
are not listed in Works Cited.
sole source of income, they must ensure the
quality of their product. The point is simply
0 WORKS CITED
that publishing is a business, and the first
consideration of all commercial publishersApplebee, Arthur N. A Study of High School Literatu
is earnings. Publishers want their books to Anthologies. Report Series 1.5. Albany: Center fo
be top quality and accurate, but above all, the Learning and Teaching of Literature, 1991.
Benedict, Barbara M. Making the Modern Reade
they want them to make money.
Cultural Mediation in Early Modern Literary An
According to the foreign language editor thologies. Princeton: Princeton UP, 1996.
of one large New York publishing house,Bloom, Harold. The Western Canon. New York:
anthologies of the substance and breadth of Harcourt Brace & Co., 1994.
Del Rio's no longer have wide appeal. "CallBrown, Joan L., and Crista Johnson. '"The Contemp
rary Hispanic Novel: Is There a Canon?" Hispani
it the dumbing down of America or what-
78.2 (May 1995): 252-61.
ever you like," she told me, "but studentsCutter, Martha J. "If It's Monday This Must B
just can't handle the kinds of assignments Melville: A 'Canon, Anticanon' Approach to
they did thirty years ago. Teachers want Redefining the American Literature Survey." The
short, easy-to-handle books that don't cost Canon in the Classroom. Ed. John Alberti. New
York and London: Garland, 1995. 119-39.
too much." Indeed, cost is a major factor. Eagleton, Terry. The Function of Criticism. Londo
With paper and permissions prices skyrock- Verso, 1984.
eting, the pressure is on to keep anthologiesEasthope, Antony. Literary into Cultural Studies. Lon-
short and cheap. don and New York: Routeledge, 1991.
Foucault, Michel. The Order of Things: An Archaeol-
To those of us who teach Spanish litera- ogy of the Human Sciences. New York: Random
ture, this development is cause for
House, 1970 [New York: Vintage, 1994].
concern. Surely, marketability must Fowler, Alastair. "Genre and the Literary Canon." New
be a factor in deciding which books to pub- Literary History 11 (1979): 97-119.
lish, but should it be the only factor or even Freixas, Laura, ed. Madres e hijas. Barcelona:
the principal factor? There is certainly a Anagrama, 1996.
Harris, Wendell V. "Canonicity." PMLA 106.1 (1991):
place in our best university classrooms, in 110-21.
our libraries, and on our reference shelvesGilbert, Sandra M., and Susan Gubar. Masterpiece
for large-scale anthologies that offer more Theater: An Academic Melodrama. New

than a quick overview. Anthologies that of- Brunswick, NJ: Rutgers UP, 1995.

This content downloaded from

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All use subject to https://about.jstor.org/terms
 TEACHING LITERATURE: CANON 215

Rabinowitz,
Gorak, Jan. The Making of the Modern Canon: GenesisPeter J. "Against Close Reading." Peda-
and Crisis of a Literary Idea. London: Athlone,
gogy is Politics. Ed. Maria Regina Kecht. Urbana
1991. and Chicago: U Illinois P, 1992. 230-43.
Keller, Betsy. "Rereading Flaubert: Toward a Dia-Bonnie Marranca, Mark Robinson, and
Said, Edward,
logue between First- and Second-LanguageUna Chaudhuri. "Criticism, Culture and Perfor-
Teach-
ing Practices." PMLA 112.1 (1997): 56-68. mance: An Interview with Edward Said."
Martin, Biddy. 'Teaching Literature, ChangingInterculturalism
Cul- and Performance. Eds. Bonnie
tures." PMLA 112.1 (1997): 7-25. Marranca and Gautam Dasgupta. New York: PAJ
McGuire, Jerry. "Entitlement and Empowerment:Publications, 1991. 38-59.
Claims on Canonicity." Margins in the Classroom.
Sandman, John. Alternatives to the Anthology: Rethink
Eds. Kostas Myrsiades and Linda S. Myrsiades.
ing an Introductory Literature Course. New York,
Minneapolis: U Minnesota P, 1994. 153-68.1991.
Millard, Elaine. "Frames of References: The Savage.
Reception
William J. "Authors, Authority, and the Gradu-
of, and Response to, Three Women Poets."ate Student Teacher: Against Canonical Peda-
Liter-
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Ed. Ed. John Alberti. The Canon in the Class-
David Murray. London: B. T. Batsford, 1989. room.62-New York and London: Garland, 1995. 283-
84. 301.
Milner, Andrew. Literature, Culture and Society. Uni- Smith, Paul Julian. Writing in the Margin. Oxford
versity College London: London, 1996. Clarendon, 1988.
Mullen, Edward J. '"The Teaching Anthology and the Thompkins, Jane. Sensational Designs: The Cultura
Hermeneutics of Race," IJHL 6-7 (Spring-Fall Work of American Fiction 1790-1860. New York
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Pace, Barbara. 'The Textbook Canon: Genre Gender, West, Cornel. "Minority Discourse and the Pitfalls of
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Journal. 81.5 (1992): 33-38. (1987): 193-201.

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