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Valeria Luiselli's Lost Children Archive (2019) explores how to find “lost children” who are forced to migrate and interrogates relationships among works of literature, archives, and archiving. Taking place contemporaneously with its publication, the novel follows Ma, Pa, and their two children who are stepsiblings on a road trip from New York City to the US Southwest. Along the way, characters take photographs, and, more unusually, record their own voices and the sounds of the environments they pass through. This article extends explorations of how sound works in the novel to how sound works as the novel by comparing the written text with the audiobook version. After situating the novel among discussions of how literature can contribute to archive making, employing Anne Gilliland and Michelle Caswell's notion of “impossible archival imaginaries” and Erica Johnson's notion of the “neo-archive,” the article shows that readers and audiobook listeners ultimately experience a different narrative. This comparison exposes a third layer of information that prompts questions about what can — and can't — be learned from written and oral records on their own. The article concludes proposing that this third layer of information suggests new possibilities for how literature can contribute to understandings of how archives can include the experiences of marginalized communities with more nuance and complexity.
Valeria Luiselli's Lost Children Archive (2019) explores how to find “lost children” who are forced to migrate and interrogates relationships among works of literature, archives, and archiving. Taking place contemporaneously with its publication, the novel follows Ma, Pa, and their two children who are stepsiblings on a road trip from New York City to the US Southwest. Along the way, characters take photographs, and, more unusually, record their own voices and the sounds of the environments they pass through. This article extends explorations of how sound works in the novel to how sound works as the novel by comparing the written text with the audiobook version. After situating the novel among discussions of how literature can contribute to archive making, employing Anne Gilliland and Michelle Caswell's notion of “impossible archival imaginaries” and Erica Johnson's notion of the “neo-archive,” the article shows that readers and audiobook listeners ultimately experience a different narrative. This comparison exposes a third layer of information that prompts questions about what can — and can't — be learned from written and oral records on their own. The article concludes proposing that this third layer of information suggests new possibilities for how literature can contribute to understandings of how archives can include the experiences of marginalized communities with more nuance and complexity.
This introduction draws on the story of an undocumented college student activist to illustrate connections between family, education, and activism. It presents the book’s major arguments about the how education at home and in nonclassroom college spaces provide students a base for political consciousness and activist work. These argument are grounded in feminist anthropology and Freirian thought. Finally, this introduction presents methodological and ethical considerations when working with undocumented students, as well as brief chapter summaries.
The epilogue presents an ethnographic vignette detailing the participation of a member of Providing Opportunities, Dreams, and Education in Riverside (PODER) in the Raza Graduation at the University of California, Riverside. It illustrates the culmination of collective family struggle, higher education, and activist work.
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