La novela Yo-yo Boing! de Giannina Braschi intenta subrayar textualmente a través de varias mezclas entre géneros literarios, idiomas, y sujetos, la hibridez cultural vivida en los Estados Unidos por los inmigrantes, especialmente los latinoamericanos y los puertorriqueños. En la novela, se presenta el espacio de “entremedio” y el sujeto que lo habita, viviendo fuera de su país natal y hablando Spanglish. El texto crea un sujeto fragmentado, característica de la teoría postmoderna de la identidad y del nomadismo. Con un lenguaje intelectual que intenta trasladar un fenómeno oral a la palabra escrita, Braschi provoca en el lector este mismo sentido de estar fuera del lugar y desplazado. A través de los diálogos en la novela, se autocuestiona sobre su propia posición en el espacio del “entremedio” y termina produciendo y ubicando a un sujeto fragmentado en este tercer espacio. Su intento de negociación -a partir de esta posición- culmina en una provocación sin conclusión definitiva.

At the end of Toni Morrison’s novel Song of Solomon (1977), Milkman travels to the fictional town of Shalimar, convinced that he is about to reclaim his family's lost inheritance. When he arrives, however, he is sorely disappointed. Instead of the “bags of gold” he was promised, he finds only “Nothing. Nothing at all.” Milkman’s recovery-that-is-not-one encapsulates the simple yet fraught question at the center of this dissertation: How to plot the inheritance not of positive but negative property? Deploying a palimpsestic reading practice, I bring together novels and films, from the twentieth century to the present, that each cohere around this central dilemma: Can the hegemonic form of the British realist novel—the inheritance plot—be rewritten to depict, instead, forms of intergenerational dispossession? In 1973 Raymond Williams surveyed novelistic production in Britain in the nineteenth century concluding that almost ninety percent constitute an “inheritance plot.” This is, according to Williams, any plot in which narrative closure is secured with the intergenerational transfer of property, thereby sedimenting the underlying assumption of a definite relation between economic entitlement and biological property. If, however, nineteenth-century realism naturalized the transmission of wealth, right, and title, “The Inheritance Plot” examines how it has since been refused and mis-used to represent, instead, the inheritance of loss, exile, dispossession, debt, statelessness, and racial trauma. The question, then, that drives my project hinges on a set of productive contradictions: Can the very form that underwrote economic exclusion and juridical alienation be repurposed to trace what Denise Ferriera da Silva calls the oxymoron of “negative accumulation”? Over four chapters, I bring together the fiction of George Schuyler, Willa Cather, Alan Hollinghurst, Helen Oyeyemi, Jordan Peele, Ephraim Asili, Raquel Salas Rivera, and Giannina Braschi, among others, to offer a literary history of the disinherited. Subsequently, I show how each text imaginatively repurposes and rewrites an “inheritance plot” in the attempt to make sense of the intergenerational violence of chattel slavery, empire, and colonialism, while simultaneously exposing the violent fictions that underwrite genealogical regimes of ownership. In tandem, through drawing on Black and Indigenous feminisms, alongside social reproduction and queer theory, I argue that the negativation of the “inheritance plot” has ethical and political significance. In my reading, the inheritance of nothing is—paradoxically—a narrative non-event with a dual function. For instance, Milkman’s inheritance-that-is-not-one serves is both a diagnosis of historical trauma, and it is the sign of a radical reimagination of the world that doesn’t yet lie in succession.