Passing for solitude: Incest and ideology in the lone star state

John Sayles's Lone Star, released in 1996, repeatedly challenges traditional definitions of the nation as a strictly bounded entity through its depiction of the area that Américo Paredes described as "Greater Mexico" and Gloria Anzaldúa more recently referred to as the Borderlands; the film's promotion of a potentially productive love affair between half-siblings further challenges the status quo. As I argue here, however, while the film undeniably underscores the fragility of the nation in an era of global trade and travel, it also suggests the difficulties of escaping nation-based ideologies and interests. As I will show, Lone Star in fact highlights the ongoing importance of the nation-state through its attention to the institutions and individuals that Louis Althusser associates with state apparatuses, ultimately pointing to the fraught nature of avoiding the influence of the nation as a construct.