Hell is Empty

dc.contributor.authorTalley, Samantha
dc.date.accessioned2017-09-18T20:50:30Z
dc.date.available2017-09-18T20:50:30Z
dc.date.issued2017-06-15
dc.description.abstractHell Is Empty reinterprets Arthurian myths by setting them in the world of drug cartels. The title originates from The Tempest, a play often analyzed through a postcolonial lens. In Hell Is Empty, different narrators explore America’s imperial conflicts using Europe’s own legends. Lance (Lancelot) lives near Big Bend in West Texas. Alarmed by border violence, he joins a vigilante group that hunts down drug traffickers and cartel scouts. Its leader, a Mexican-American named Arturo, does not reveal much about his past; but a powerful cartel has a mysterious vendetta against him. Across the border, Porter (Palamedes), the son of the vigilantes’ patron, visits the ruins of Teotihuacán. He and his cousin, Tristán, seek an underground MMA ring that competes in one of the ancient courtyards. During their search, they vie for the affections of a Mexican archaeologist named Izarra. Meanwhile in Alaska, Texan native Evelyn (Lynette) is trying to escape her home state. Yet even in this distant land, problems pursue her. The same cartel sends scouts to establish an Alaskan crystal meth trade, and one takes a twisted interest in Evelyn. In Wolfram von Eschenbach’s Parzival, the Grail bears the following engraving: “Any Templar appointed by God’s hand to be master over foreign folk must forbid the asking of name or race and help them to their rights.” As Joseph Campbell points out, this early Arthurian myth actually affirms universal dignity. Hell is Empty thus examines what happens when colonialism attacks these unalienable rights.en_US
dc.identifier.urihttp://hdl.handle.net/20.500.11868/178
dc.language.isoen_USen_US
dc.publisherMFA in Creative Writing, The University of Tampa
dc.subjectNovelen_US
dc.subjectAdaptationen_US
dc.subjectArthurian mythen_US
dc.subjectDrug cartelsen_US
dc.subjectAmericaen_US
dc.titleHell is Emptyen_US
dc.typeThesisen_US

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