Intro; Acknowledgments; Contents; Notes on Contributors; Chapter 1 Parody and Ideology; Ideology; Parody; Postmodernism; Ideology and Literature; Ideology and Parody; Parody and Latin American Literature; Postmodern Parodies and Strategies for Self-Critique; Postmodern Parodies; Works Cited; Chapter 2 Parody and Intertextuality in the Poetry of Twentieth-Century Spanish American Women Writers; Works Cited; Chapter 3 Postmodern Parody of The Enchanted Cottage in El beso de la mujer araña: Molina Leaves the Woods; Molina's "Totally Romantic" Movie; Description, Difference, and Deterioration

Female Identification and the Gender BinaryImitation, Irony, and Ideology; Works Cited; Chapter 4 The Re(Naissance) of Texts: Parody and Rewriting in the Work of Luisa Valenzuela; Works Cited; Chapter 5 Of Ideological Continuums and Sentimental Memories: Enriquillo Sánchez's Musiquito: Anales de un déspota y de un bolerista; Silencing the Past and the Voice of Failure; Bolero and History; Structure and Ideology; Works Cited; Chapter 6 Parody as Genealogy and Tradition in Nazi Literature in the Americas; Works Cited

Chapter 7 Claudia Piñeiro's Elena Knows: How Parody in the Crime Novel Explores Disability and FeminismWorks Cited; Chapter 8 No Laughing Matter: Post-Soviet Cuba in the Orbit of Postmodern Parody; Works Cited; Chapter 9 Elective Affinities: The Spectacle of Melodrama and Sensationalism in Cinco esquinas by Mario Vargas Llosa; Works Cited; Chapter 10 Postmodern Transpositions of the Latin American novela de la tierra: Maldito amor by Rosario Ferré and La otra selva by Boris Salazar; Works Cited; Index