The aesthetics of confrontation continue within the third novel, So Far From God (1993), the work analyzed in this study, yet in this novel, Ana Castillo uses the strategies of the absurdist author to confront and explore identity transformations of the characters.
Because the novel is multi-generic, combining poetry, folk literature and social and political commentaries, aspects indicative of both postmodern fragmentation and absurdist techniques, its reviewers describe the novel differently.
However, an analysis of Castillo's use of language, characterization, and plot reveals that she combines the aesthetics of the absurd with a postmodern pastiche of genres to produce the first absurdist Chicana novel.
The practice of using absurdist techniques began during the sixties, a period that Charles B.
She uses parody, allegory, black comedy, tragic farce, poetry and Heloise-type advice for women in order to mimic the absurdist vision.
When the narrative voice of the novel quickly establishes the conflicts and ensuing tensions with its ironic, busy-body absurdist attitude, it also becomes the vehicle that recombines values and generic codes.
In absurdist fashion, Castillo's mitotera narrates the women's stories by combining burlesque and black humor in theatrical incidents.
Thus, the mocking tone of the mitotera's central consciousness intrudes throughout the novel, providing the absurdist element by using language whose tone and diction affects both characterization and plot.
As for other precursors and influences: Kharms cites Gogol, Edward Lear, and Lewis Carroll, who could be considered nineteenth-century absurdists
, and Velimir Khlebnikov, the great futurist poet (who once advocated raising "edible invisible creatures" in Soviet lakes, so that every lake will be a pot of soup already made, even if uncooked), among his favorite writers.