Literary Nonfiction. Poetry. Latino/Latina Studies. LGBT Studies. Fourth Edition. Rooted in Gloria Anzaldua's experience as a Chicana, a lesbian, an activist, and a writer, the essays and poems in this volume profoundly challenged, and continue to challenge, how we think about identity. BORDERLANDS/LA FRONTERA remaps our understanding of what a "border" is, presenting it not as a simple divide between here and there, us and them, but as a psychic, social, and cultural terrain that we inhabit, and that inhabits all of us. This twenty-fifth anniversary edition features a new introduction by scholars Norma Cantu; (University of Texas at San Antonio) and Aída Hurtado (University of California at Santa Cruz) as well as a revised critical bibliography. "The emotional and intellectual impact of the book is disorienting and powerful...all languages are spoken, and survival depends on understanding all modes of thought. In the borderlands new creatures come into being.
Originally released in 1981, This Bridge Called My Back is a testimony to women of color feminism as it emerged in the last quarter of the twentieth century. Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, “the complex confluence of identities—race, class, gender, and sexuality—systemic to women of color oppression and liberation.”
Updated and expanded edition of the foundational text of women of color feminism.
Gustavus Myers Outstanding Book Award from the Gustavus Myers Center for the Study of Bigotry and Human Rights This new edition of an immensely influential book gives voice to Mexic Amerindian women silenced for hundreds of years by the dual censorship of being female and indigenous. Castillo replaced the term ?Chicana feminism? with ?Xicanisma? to include mestiza women on both sides of the border. In history, myth, interviews, and ethnography Castillo revisits her reflections on Chicana activism, spiritual practices, sexual attitudes, artistic ideology, labor struggles, and education-related battles. Her book remains a compelling document, enhanced here with a new afterword that reexamines the significance of Our Lady of Guadalupe.
Twenty-one Chicana scholars and writers create theory through fiction, performance, and essays. They address the secrets, inequities, and issues they all confront in their daily negotiations with a system that often seeks to subvert their very existence. They have to struggle daily not only with the racism that pervades our lives, but also with the overwhelming male domination of the "macho" Chicano and Mexican culture.
This is a description of the social situation in America of La Chicana, a Hispanic minority female whose life is influenced by racism and sexism. It analyzes contemporary scholarship on race, class and gender, scrutinizing the use of language and labels to examine how La Chicana is affected by these factors. The author explores the history of Chicanas and the meaning of the term Chicana, and considers her socialization process, the consequences of deviating from gender roles, and the evolution of Hispanic women onto the national scene in politics, health, economics, education, religion and criminal justice. The shared lives of Mexican-American women and men at home and inside and inside and outside of the barrio are also investigated, and the book highlights the variables that effectively discriminate against coloured women.
Catriona Rueda Esquibel starts from the premise that Chicana/o communities, theories, and feminisms cannot be fully understood without taking account of the perspectives and experiences of Chicana lesbians. To open up these perspectives, she engages in close readings of works centered around the following themes: La Llorona, the Aztec Princess, Sor Juana Inés de la Cruz, girlhood friendships, rural communities and history, and Chicana activism. Her investigation broadens the community of Chicana lesbian writers well beyond Moraga and Anzaldúa, while it also demonstrates that the histories of Chicana lesbians have had to be written in works of fiction because these women have been marginalized and excluded in canonical writings on Chicano life and experience.
Musical sound has been central to heteromasculinist productions of nation and homeland, whether Chicano, Tejano, Texan, Mexican, or American. If this assertion holds true, as Deborah R. Vargas suggests, then what are we to make of those singers and musicians whose representations of gender and sexuality are irreconcilable with canonical Chicano/Tejano music or what Vargas refers to as la onda? These are the dissonant divas Vargas discusses, performers who stimulate our listening for alternative borderlands imaginaries that are inaudible within the limits of la onda. Dissonant Divas in Chicana Music focuses on the Texan monument of the Alamo and its association with Rosita Fernandez; Tejano corrido folklore and its musical antithesis in Chelo Silva; the female accordion-playing bodies of Ventura Alonza and Eva Ybarra as incompatible with the instrumental labor of conjunto music; geography as national border, explored through the multiple national music scales negotiated by Eva Garza; and racialized gender, viewed through Selena's integration of black diasporic musical sound. Vargas offers a feminist analysis of these figures contributions by advancing a notion of musical dissonance or a dissonance that recognizes the complexity of gender, sexuality, and power within Chicana/o culture. Incorporating ethnographic fieldwork, oral history, and archival research, Vargas's study demonstrates how these singers work together to explode the limits of Texan, Chicano, Tejano, Mexican, and American identities.
Mexican and Mexican American women have written about Texas and their lives in the state since colonial times. Edited by fellow Tejanas Inés Hernández-Ávila and Norma Elia Cantú, Entre Guadalupe y Malinche gathers, for the first time, a representative body of work about the lives and experiences of women who identify as Tejanas in both the literary and visual arts. The writings of more than fifty authors and the artwork of eight artists manifest the nuanced complexity of what it means to be Tejana and how this identity offers alternative perspectives to contemporary notions of Chicana identity, community, and culture. Considering Texas-Mexican women and their identity formations, subjectivities, and location on the longest border between Mexico and any of the southwestern states acknowledges the profound influence that land and history have on a people and a community, and how Tejana creative traditions have been shaped by historical, geographical, cultural, linguistic, social, and political forces. The collection attests to the rooted presence of the original indigenous peoples of the land now known as Tejas, as well as a strong Chicana/Mexicana feminism that has its precursors in Tejana history itself.