The structure is disnarrative and modular, like the border experience. It fuses postmodern techniques with popular voices and dialectical forms borrowed from a dozen sources, such as media, tourism, pop culture, Pachuco and pinto slang, and political jargon. These voices are intertwined with metacommentary and epic poetry. The epic tone reflects the epic experience of contemporary Mexican Americans.
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Guillermo Gómez‐Peña (1991) studied this question.
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