Lotería is a hybrid poetry collection that follows the life of the speaker as a queer, Hispanic transracial adoptee raised by a conservative Catholic family in Central Florida, focusing on their struggle to fit into the binaries assigned to and expected of them across religion, race, gender, and sexuality. This collection is separated into three sections, each expanding on the one before as the speaker journeys through life, exploring their identity and their connection with the world around them. In the first section, poems such as "(Non)Binary Star" and "Size 6 Woman Size 18 Daughter" sift through the speaker's conflict of being a queer, adopted child and feeling like an outsider in their own home, particularly in relation to their adopted mother, while also exploring the way religion was routinely used as a vehicle for shame and obedience. Poems like "Poet as Wolfdog" and "Wolfdog as Poet" in the second section explore the speaker's relationship with themself as they learn to push against the boundaries of the binaries they're familiar with and to become more comfortable in expressing their identity as an adoptee while leaning into more fantastical language and imagery. The final section steps outside of the home of the speaker and considers the relationship between them, their body, and the world at large, in poems like "The Cycle of Life in Skagaströnd," which turn the act of traveling into a spiritual experience. The use of hybrid forms such as numbered lists, dictionary definitions, and elongated prose throughout Lotería serve as tangible examples of the body and soul of the speaker as they navigate their existence between and across forms, roles, and binaries.

Parfois posées en héritières du fantastique du dix-neuvième siècle, les écritures singulières des auteurs postcoloniaux exploitant les ressorts du surnaturel sont souvent cataloguées sous l’étiquette homogénéisante de « réalisme magique ». L'intérêt du rappro­chement des œuvres de René Depestre, Rachid Boudjedra et Ben Okri est de pouvoir interroger ces filiations à partir de leur textualisation de la figure du double. Ces littératures, adoptant une posture nouvelle face à son traitement et à son évolution, s'éloignent des écritures fantastiques occidentales. Elles s'en distinguent par l’exploitation de personnages hybrides, dont la posture face au double est conditionnée par cette hybridité-même, une conséquence inéluctable de l'Histoire. Ces auteurs postcoloniaux explorent des ethnoscapes inédits et développent une écriture résolument moderne fondée sur une hybridation générique qui contribue à revivifier le roman à l'occidentale. Leurs poétiques hybrides génèrent ainsi un genre original où le double, loin d’être une simple figure, est une clé pour aborder ces textes aux imaginaires multiples qui jettent de nouvelles bases pour une herméneutique littéraire. / The postcolonial authors who use the supernatural have sometimes been qualified as the heirs of Nineteenth Century fantastic literature, and are often categorized under the homogenizing label of “magical realism”. The relevance of the parallels between the works of René Depestre, Rachid Boudjedra and Ben Okri is apparent when interrogating these filiations through their textualisation of the figure of the Double. This writing confronts the figure's appearance and evolution with a novel posture, and has developed a varied approach different from that of Western fantastic literature. They set themselves apart by their usage of hybrid characters, whose attitude when facing the Double is conditioned by their hybridity; an inescapable consequence of history. The authors explore original ethnoscapes and have developed a thoroughly modern writing built on a generic hybridity, contributing to the revitalization of the Western novel. These hybrid poetics have generated an original genre in which the double, far from it’s basic characterization, represents a key when approaching the multi-facetted imaginations of these works, laying new groundwork for literary interpretation.

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