Although materialist analyses have critiqued the institutionalization of postcolonial studies and its emergence in global capitalism, only few have addressed the role of creative writing in standardizing migrant novelistic production to what Mark McGurl has designated as ‘program fiction’ whose trademark is the practice of “involuted self-reference”. In filling this gap, this paper looks into Gina Apostol’s writings and their reception by international audiences as exemplary of the cultural capital of program fiction. While Apostol’s autofictions/ficto-criticism points to the influence of creative writing in her novels — she studied under John Barth in the MFA program in Johns Hopkins University, this context is overlooked when metropolitan readers construe her work as postcolonial literature. I argue that Apostol’s textualist renderings of Philippine history is an act of ventriloquism whose metropolitan success is a symptom of the auratic authority of postcolonial studies in the First world literary marketplace.

中文翻译：

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自诗学、市场竞争力和跨国作家

尽管唯物主义分析批评了后殖民研究的制度化及其在全球资本主义中的出现，但只有少数人将创造性写作在标准化移民小说生产中的作用与马克·麦古尔 (Mark McGurl) 所称的“程序小说”相提并论，其商标是“卷入式”的实践。自我参照”。为了填补这一空白，本文研究了 Gina Apostol 的作品及其作为节目小说文化资本的典范而被国际观众接受的情况。虽然阿波斯托尔的自传/小说批评指出了创造性写作在她的小说中的影响——她在约翰霍普金斯大学的 MFA 项目中师从约翰巴特，但当都市读者将她的作品解释为后殖民文学时，这种背景被忽视了。