"A few examples demonstrate this trend more concretely, such as Doris Sommer’s use of the term ‘particularities’ in her introductory essay to an issue of the Modern Language Quarterly devoted to globalism. Sommer speaks favorably of what she refers to as (borrowing from Derrida) ‘untranslatable particularities’, ’as a renewed response to the pressures of dramatic ‘globalization’. But these particularities are further modified as ‘specificities of time and place’ and ‘particularities of literary context and strategy’, which carefully limits them to phenomena visible to and envisioned by the mastery of the critical gaze and not those that would interrupt that gaze itself with the possibility of another rhetorical point of departure."
The Effects of a Nation: Mexican Art in an Age of Globalization, Carl Good
A tortilla machine is a beautiful thing to watch, every Mexican has memories of the sound, the smell and the movement of these mechanical devices. To me it was a delight to go to the torillería after school. This meant I had to wait in line for fresh baked tortillas piling up in front of my eyes. A small salt cellar lingered by the weight scale, and after they were placed on paper, I could take one tortilla, put salt and roll it with both of my hands. A salt taco, the most basic identifiable particle of Mexicanity: nationalism at its best.
When these machines cross borders, it's astonishing how these metallic mammoths once turned on, instigate a kind of cultural resistance, one that is more durable, made of clay and corn. Tougher migrants using food against globality as well as a deeply rooted passageway into the modern Mexican reality.