DBC Pierre's Blood Meridian: Cosmopolitan Returns and the Imagination of History
Symbiosis 11.1
Author: Maria del Pinar Blanco
Pages: 16
'DBC Pierre’s Blood Meridian: Cosmopolitan Returns and the Imagination of History' by Maria del Pinar Blanco, offers a critical exploration of DBC Pierre's narrative techniques and thematic concerns in his historical novel Blood Meridian. Originally published in Symbiosis: a Journal of Anglo-American Literary Relations, this essay examines how Pierre engages with historical events and figures, reinterpreting them through a cosmopolitan lens. Blanco delves into the novel's portrayal of historical violence, the construction of cultural identities, and the ethical implications of narrating history. This scholarly work is essential for readers interested in literary criticism, historical fiction, and the intersections of history and literature.
Symbiosis 11.1
Author: Maria del Pinar Blanco
Pages: 16
'DBC Pierre’s Blood Meridian: Cosmopolitan Returns and the Imagination of History' by Maria del Pinar Blanco, offers a critical exploration of DBC Pierre's narrative techniques and thematic concerns in his historical novel Blood Meridian. Originally published in Symbiosis: a Journal of Anglo-American Literary Relations, this essay examines how Pierre engages with historical events and figures, reinterpreting them through a cosmopolitan lens. Blanco delves into the novel's portrayal of historical violence, the construction of cultural identities, and the ethical implications of narrating history. This scholarly work is essential for readers interested in literary criticism, historical fiction, and the intersections of history and literature.
Symbiosis 11.1
Author: Maria del Pinar Blanco
Pages: 16
'DBC Pierre’s Blood Meridian: Cosmopolitan Returns and the Imagination of History' by Maria del Pinar Blanco, offers a critical exploration of DBC Pierre's narrative techniques and thematic concerns in his historical novel Blood Meridian. Originally published in Symbiosis: a Journal of Anglo-American Literary Relations, this essay examines how Pierre engages with historical events and figures, reinterpreting them through a cosmopolitan lens. Blanco delves into the novel's portrayal of historical violence, the construction of cultural identities, and the ethical implications of narrating history. This scholarly work is essential for readers interested in literary criticism, historical fiction, and the intersections of history and literature.
 "On 9 November 2006, Britain’s Channel 4 aired a new film titled The Last Aztec, directed by documentary filmmaker Teresa Griffiths, starring and written by 2003 Man Booker Prize-winning author DBC (‘Dirty But Clean’) Pierre. A tall, rather haggard looking fellow, DBC Pierre broods over Mexican landscapes while imbibing the centuries-old discontentment over the destruction and near-disappearance of the Aztec empire. His rhetorical methods of comparative historical analysis are unique: ‘While we as a culture were chucking shit out of windows into alleys in London,’ he recounts, ‘these people had drainage, they had courts, they were living off spring water and vegetables. While we were dying of the plague and scraping around in the grime, these folk were wandering like gods.’ It is clear from the outset that The Last Aztec, though possessing a modishly momentous title that fits in with the current monikers used for documentary films shown on the Discovery or History television channels, is quite different from these pop-historical sketches of long-lost civilizations." |
