EXPANDING THE BOUNDARIES OF ANTHROPOLOGY: THE CULTURAL CRITICISM OF GLORIA ANZALDOA AND MARLON RIGGS

RUTH BEHAR

For the meeting of the American Anthropological Association meetings signaled a historic moment for Association in 1992, Lisa Rofel organized an invited anthropology. The year 1992 was thick with panel titled "Expanding the Boundaries: Anthropology quincentenary recuperations of the tangled history of and Cultural Critique" focusing on the work of two encounters, expulsions, and expropriations set in motion imponant cultural critics, Gloria Anzaldua and Marlon by the European conquest of the Americas - a history Riggs. Although neither Anzaldua nor Riggs are in which many ofanthropology's roots are embedded. It anthropologists, they have a good deal to say to was not only appropriate, but urgent, chat 1992 come to anthropologists. As Rofel wrote in her proposal, "[t]he stand for the beginning of an anthropological dialogue work of these scholars has helped us to rethink the with the creative scholarship that American people of intersections of gender, race/ ethnicity, and sexuality, color have been producing for the last several decades. and, indeed, to rethink the entire concept of 'culture.' This is scholarship that, as in the work ofAnzaldua and Their writings and productions, as part of 'minority Riggs, is transforming the very terms and possibilities of discourse' in the U.S., have provided us with the tools by cultural representation. which to critique anthropology and to move anthropology I believe this is an exciting moment for anthropology into a postcolonial, postmodern world." The original - crisis and all-because we are becoming aware ofour plan was for both Anzaldua and Riggs to be present and silences; our tongues are starting co be untied. And yet fur Renato Rosaldo and me to serve as discussants after I think we can go farther and should go farther in our self­ the screening ofRiggs' film Tongues Untied For reasons critique and in our exploration of other ways of telling ofillness, Anzaldua and Riggs were unable to attend, but anthropological stories. The focus of anthropology on to honor their presence even in their absence, I made the far away cultures made us unaware, until recently, of the introductory remarks which I have expanded upon in internally colonized cultures within this America that we this essay, and the Riggs film was screened to a large and were always leaving behind in search of the Other enthusiastic audience. somewhere else. We traveled back and forth, from our This panel provided the occasion for what I felt was comfortable posts in the American academy to sites a belated, and very necessary, conversation between across the border, without questioning sufficiently the American anthropology and the cultural criticism of privileges and exclusions at home that made our work American minority poet-critics (cf. Freedman 1992). possible in the first place. As Gloria Anzaldua has stated That it was centrally placed on the program of the in an interview, "Even though we are in the United

Visual Anthropology Review Volume 9 Number 2 Fall 1993 83 States, we' re not really ofit because we do not partake of Ifwe want ancestors that can be of more direct hdp the privileges of being white" (Valverde 1988: 30). to us, I suggest we connect, for a change, with the works Many ofus become anthropologists precisely because we of the Native-American ethnographer Ella Deloria and feel we aren't ofit either, or because we don't wane to be theAfrican-American ethnographer Zora Neale Hurston, ofit, so we escape to the "exotic" - but let us not forget both of whom were students of Boas. These that there is a world of difference between being able to anthropologists of color were difficult to place at make this choice and having it thrust upon you because Columbia-were they native informants or scholars in ofyour color, ethnicity, or class. We need to go beyond their own right? Deloria's academic labor was the our often unpoliticized, static, comfortably-somewhere­ anthropological equivalent ofpiece-work: she depended else concept of culcure and take into account the on the patronage of established white scholars and discriminations of racism, homophobia, sexism, and supported herself through short-term contracts. She was classism as they occur in the America to which we are supposed to bearesearchassistantto Boas, but he treated always returning to pursue our research agendas. her more often as an informant. Deloria chafed against Anthropology in the United States began here, at his concern with verification and the documentation of home; it has its roots in shame - our shame about the objective truths and told Boas in a letter that "going at it way Native American people have been treated. Fernando like a whiteman, for me, an Indian, is to throw up an Benitez (1970), the Mexican anthropologist, says that immediate barrier between myself and the people. n ethnographers should communicate their shame to others, Deloria found herself needing not only to find other for shame is a revolutionary sentiment. In that spirit I ways of doing fieldwork, but ofwriting against the grain want to say some things that I expect will be irritating to ofestablished anthropological conventions (Finn in press). the many anthropologists who feel that the current Her moving ethnographic novel Waterlily {1988), about concern with multiculturalism is nothing new to the life of a nineteenth-century Dakota woman, was anthropology. The assumption seems to be that since we completed in 1944 but not published until forty-four have always studied the Other, we have somehow, in the years later. Hurston, too, found herself at odds with the animist fashion we used to attribute to primitive mentality, conventions of ethnographic fieldwork practice and incorporated the insights of multiculturalism into the writing even though she was, as bell hooks says, •ac the academic settings in which we practice the profession of cutting edge of a new movement in echnography and anthropology. anthropology that has only recently been actualiu:cl9 Whenever anthropologists want to claim that we've (1990: 143). In her ethnography Mules anJMm (1990), been there already, that anthropology has a long history a pioneeringwork ofself-reflexive writing fint published of confronting racism and countering it with an in 1935, Hurston tells thefascinatingstoryofher return understanding of cultural diversity, they turn to Franz to her hometown ofEatonville, Florida, to study folklore Boas, the founder of American cultural anthropology. with the "spy glass of anthropology." Indeed, early American anthropology, under the guidance Where is Deloria's work, where is Hurston's work, ofBoas, made an important contribution to undermining in our canon of anthropology core courses? All the time racism and creating a stronger national awareness of the that anthropologists have been waiting for the natives to destruction of American Indian cultures through talk back, to write their own ethnographies-you know, conquest. But Boas and his students didn't cover for the Nuer to just let us have it - we have been everything and theirs was quite a different time from strangely unaware that an entire movement of cultural ours. I don't think that ritually citing this ancestor is self-representation has been taking place here at home. going to help us become part of the new discussions In anthropology this movement was begun by Deloria surrounding multiculturalism. and Hurston. But seeing how their voices have been

RUTII BEHAR TEACHES ANTHRoPoLoGY, WoMEN's STIJDIEs, AND LA.nNAlo STUDIES AT THE UNIVERSITY oF MianGAN, ANN ARBoR. SHE 1s THE At.rrHOR oF TRANSLATED WoMAN: CROSSING THE BoRDER WITH EsPERANZt :S SroRY (BosroN: BEACON PREss, 1993). SHE 1s ALSO THE co-EDITOR, WITH DEBORAH GoRDoN, oF WOMEN WRITING Ccn:roRE: A READER IN FEMINIST ETHNOGRAPHY, FORTHCOMING FROM TiiE UNIYERSnY OP C.WFORNIA PRF.Ss.

84 Volume 9 Number 2 Fall 1993 Visual Anthropology Review silenced, ignored, marginalized, is it anywonder thar the book "docs not address itself primarily to whites, but current multicultural movement is unfolding beyond invites them to 'listen in' co women of color talking to the confines of academic anthropology? each other and, in some instances, to and 'against' white The minority scholars who form part of this people" (1990b: xviii). In much chesameway, Marlon movement - key among chem Gloria Amaldua and Riggs' Tongues Untied, a lyrical documentary of gay Marlon Riggs - are not exactly knocking at our door black culture, was not primarily intended for those

MARI.ON T. RIGGS this time around. They don't need our patronage outside the culture, whether black or white, but for those anymore, thankfully. And they don't intend co become on the inside. For insiders, the film offered the pleasure our native informants. Or do piece-work for us. As of recognition, of being made visible, while for those Gloria Anzaldua notes in the introduction to a new looking in from the outside, it offers a lesson in the anthology she has edited of the creative and critical work intersection of personal, cultural, and political sdf­ ofwomen of color, tided Making Face, Making Soul the cxprcssion. Let's be clear, rhough, that this invitation to

Visual Anthropology Review Volume 9 Number 2 Fall 1993 85 "TONGUES UNTIED. II

.. listen in" should not be confused with Clifford Geertz's in television programming. As R.i~ patiently uncovers suggesrion chat we write our cultural texts by reading one mask after another, showing us both the early over che shoulders of the natives. No, this time around demcaningscereotypesofAfrican-Americans in celev~ion anthropologists ofcolor- even those without "proper" and the later images, which seek to be "nice" by making credentials - are equal workers in the field of culrural African-Americans out to be almost white and almost rep resen cation, and they are surpassing us in their ab iii ty integrated into mainstream white society, the tides Hip to create new languages for writing culture. They are not across the bottom of the screen, asking "Is this a positive waiting for us to construct and represent them. representation?• Having seen the impressive corpus offilms made by Although Ethnic Notions and Color Adjustment are Marlon Riggs, I was struck by the integrity and highly original documentaries, they are not as thoroughness with which he has approached the issue of experimental in form as Riggs' more recent videos, how African-Americans arc represented, and represent Tongues Untied and No &gret, which weave together themselves, in popular culture and in the mass media. poetry, performance, autobiography, and historical To know how others have represented you, to unmask footage, questioning the limits of what counts as "the the structures of so-called objective representational document." The tragedy of the AIDS epidemic plays a practices, Riggs shows, is both revolutionary and central role in the newer works. le is AIDS and the losses liberaring. While his early video Ethnic Notions explores it has brought about in che black gay community that a wide range of racist images of blacks in American most forcefully moves Riggs. I fed, to search for ways to popular culture, his more recent Color Adjustment is a untie tongues that urgently need co speak. and be heard. unique history of the representation of black Americans And that includes his own tongue.

86 Volume 9 Number 2 Fall 1993 Visual Anthropology Review "CoLOR ADJUSTEMENT. II

In his autobiographical film Tongues Unti.ed, as in look at it on your own terms, from your own standard his moving new film No Regret, a collage of direct and not concinually from eyes of blue. Look through scacemencs about cheir condition by black gay men who your own eyes and realize that that is a form of culcural are HIV positive, Riggs sets ouc co make his own positive resistance, community building, and cultural affirmation. representations, noc burdened, but empowered, by the Ifyou do thac, chen you dance as liberation"' (Kleinhans knowledge of che history of represencacions oucsiders and Lesage 1991: 13). Indeed, in Tongu.es Untied, Riggs have conscructed of African-Americans. In Tongues highlights African-American forms of creative self­ Untied, he takes this history of representations and cums expression, including poecry, song, oral scorytelling, and it around, just as he turns around - in a way thac is dance. le isa visual work rooted, as Riggs has said, in "all courageously disloyal-chestruggle for black civil righcs the poetry that was coming ouc by black gay men" by visually juxtaposing, at che end of the video, the black (Kleinhans and Lesage 1991: 120). But Riggs does not gay march for freedom wich the black political march for simply lee these poetic voices be heard; he inserts his own freedom of Martin Luther King. voice into che video, producing a multiply voiced work. As Riggs has stated in an incervicw, "You need In addition to celling on camera the scory of his own somehow to affirm those gestur~ which the dominant sexual and ethnic coming of age, Riggs appears both in culture looks down upon and considers inferior or a humorous section on hsnap!thology," the practice of reflecting a flawed personality or a flawed culcure. We finger-snapping among black gay men, and in a section take that and reverse it .... Some black people are ashamed in which he dances together with other participants in his to dance. White folks will see us and will chink, 'Well, project. Sharing co-authorship with his subjects in we're always happy, dancing darkies.' Bue you have to Tongues Untied, as few anthropologists are able co do in

Visual Anthropology Review Volume 9 Number 2 Fall 1993 87 their cexts, Riggs not only explores his own identity, but fusion or confusion of individual/ collecdvicy around makes room for his subjects co represent themseJves, and use it as a tool for collective strength and not as an while also participating in a transformative cultural oppressive representation. We can subvert it and use it" practice with his co-actors {cf. Becquer 1991). (l 990a: 220). Unlike those who can afford to claim che dearh ofthe Boch Anzaldua and Riggs join individual and subject, idencicyisalwaysamajorweapon in rhesrruggles collective concerns by not divorcing ethnography and of those who have been internaUy colonized, chose for history from autobiography. In che process, they create

"No REGRET." whom, as Anzaldua puts it, .. the white is still there, new forms of theory, new ways of theorizing, chat de­ invisible, under our skin" (1990b: 145). Anzaldua has academize theory and connect the community co the noted that people of color are always being treated academy, new forms chat arc open, accessible, non­ generically by the dominant culture; she's been held alicnacing. that allow chose who have been left out to accountable, she says, for both Richard Rodriguez's anci­ come in. Anzaldua recalls how a Chicana graduate affirmative action views and Cesar Chavez's anti­ student came sobbing to her once, saying ·1 don't have hegcmonic political strategies. But Anzaldua responds the language, the vocabulary." & Anr.aldua notes, this by saying. "I chink we people-of-color can turn this young woman, ·1ilc.e many mujeres of color in graduate

88 Volume 9 Number 2 Fall 1993 Visual Anthropology Review school, felt oppressed and violated by... a rhetoric disguised that would limit how that self can be defined. So strong as good 'scholarship' by teachers who are unaware of its is Anzaldua's refusal to be translated inco the race, class, and gender 'blank spots'" {l 990b: xxiii). representations of others that she has resisted allowing Similarly, Marlon Jljggs notes how as a graduate student herselfto be labeled a "lesbian n by other lesbians, preferring in journalism he tried to model himself after "the best" to be called by the names that resonate for her" and evoke the mass media seemed to offer, which was the role ofthe gut feelings and meanings," names like "de las otras" (of detached non-participant observer, bu che came to realize the others), jotita, marimacha, loquita, or the Nahuatl that "no amount ofeducation would make me look like, pat/ache (1991: 250). Noc only has Anzaldua reclaimed sound like, think like, Peter Jennings, Dan Rather, the names that mark her sexuality as transgressive, she Cronkite.... The truth ofmy bastard status would always has reclaimed-in an original and breathtaking way­ break through, the masks upon masks would ever slip, the identityofthe mestiu.. The idea ofmestiu.je has roots unhinge" {1991: 8). Only by"strippingoffthe mascaras in colonial Mexico, where it even came to be figured others have imposed on us," notes Anzaldua, is it possible visually in the eighteenth century in a series of paintings for women of color to become subjects in their own that sought co depict the different New World human discourses {1990b: xviii). Anzaldua' s notion ofrefuting types combined oflndian, Spanish, and African iden city. false images and mirrors to discover "the unfamiliar In the hands ofAnzaldua, mestiZll comes to embody her shadows" of self-identity is very similar to Riggs' mixed, mulciple identity, as she connects with the Indian, uncovering of layers of representation to get at a non­ the Mexican, and the Anglo-American cultures of her alienatingway ofmaking face. To have face, as Anzaldua south Texas history. Just as the nationalist movements notes, is to have dignity and self-respect (1990b: xxvii). of the fifties and sixties self-consciously moved away It is difficult to acquire theorizing space, let alone a from a hyphenated Mexican-American identity to a voice, in the academic world ofscholarship, where race, Chicano identity, Anzaldua proposes a new identity, class and gender are often "blank spots" as Anzaldua mestiza, that responds both to the continuing social notes. But she also adds, "When we do acquire a voice, marginalizacion ofChicanas and serves as a metaphor for we often become periquitas (parrots).... Untied, our non-Chicanas as well (Perez 1991). tongues run away from themselves" (1990b: xxiii). In Reclaiming all the bad names they called you at finding a language in which to speak, the minority home, all the names that marked you as different, as scholar can'c help but realize that she or he has made a queer, is equally important for Marlon Riggs, whose journey away from home, away from her or his class talking lips in Tongues Untied impose an umber ofnames status. In the words ofAnzaldua again, "Language, fine on him and other black gay men, including punk, freak, arts and literature do not belong to women-of-color; homo, and fag. Sexuality is the boundary marker, the culture and the social system enslave our hands in fence, that divides both Riggs and Anzaldua from their clerical, faccory, field or secretarial work.... We are home communities. While Riggs points out the racism forced to steal a bit of visual, oral, or written language" in the white gay community, and in particular the sense (1990b: xxiv). Overcoming legacies ofsilence, speaking ofexclusion he felt when he arrived in the Castro district, up despite the fear ofdisclosure, is not only difficult but Riggs does not accept the name "Abomination" that the painful, as Riggs shows; and for a Latina woman, as black church community places on gay sexuality. He Anzaldua reminds us, to have a bigmouth, to be repelona, refuses to have co make a choice between being black or chismosa, is a sin (1987: 48). being gay. As he noced in an interview, "I decided chat With her book Borderlands/ La Frontera, a collection whac I was going co deal wich were in some ways explosive of diverse types of texts - autobiographical, yec deeply repressed chings in our community. Whether historiographical, theoretical essay, poetry-Anzaldua icwas taking on the church, or caking on Eddie Murphy, became an icon ofthe new mestiza, a woman whose hybrid or taking on child sexuality and child sex ... Thac would sense ofidenticy and location situates her on the border. have to be done. Ic was either say noching or go all ouc" Border/4nJs, like Tongues Untied, offers a model for a (Kleinhans and Lesage 1991: 124). Anzaldua likewise genre ofpersonal ethnography that explores the interface refuses co accepc the ideology of the male-dominated of the selfwith a critique of the cultural representations Chicano movement of che sixties and seventies that

Visual Anthropology Review Volume 9 Number 2 Fall 1993 89 viewed feminism and lesbianism as white middle-class ac lase, its own inexorable face.... What chis myth issues. She will not allow her tongue to be tied by a required was the silencing ofour most in cimace, deepest, nationalist anti-feminism (Perez 1991). "No, I do not life-sustaining truths. I c demanded more than mere buy all the myths of the tribe in to which I was born," she assimilation; it forced us co view the best wichin ourselves writes (1987: 21-22). as the worse, our idencicies co be jettisoned .... Bue we are And yet chere is the desire to connect with home, no longer willing co bleed and hence co pay" (1991: 1). despite its blatant homophobia, and there is pain in not Certainly, Riggs has had co pay for his decision co "go all being able co go home as who one is-for both Riggs and out" and speak disturbing cruchs. Tongues Untied was An:zald ua. The only way either of chem can go home is scavenged by Pat Buchanan in his presidential ads, Jesse by transforming home, by remaking it, in their scholarly Helms denounced the work in the Senate, and the art, where poetry is always at the center, and by forging Christian Coalition sent a sensationalized seven~minuce new communities made up ofexiles like themselves. "If excerpt co all the members ofthe House ofReprescncacives going home is denied me," Anzaldua writes, "then I will in a failed effort to control the content restrictions on the have co stand and claim my own space, ma.king a new N.E.A. (Riggs 1992). Of the fifty stations that had culture - una culcura mesciza -with my own lumber, planned co air the film, eighteen dropped it and numerous my own bricks and mortar and my own feminise others rescheduled Tongues Untied at hours way past architecture" (1987: 22). In the case of Riggs, after he prime time, from 10 p.m. co as lace as 3 a.m. (Saalfield discovers his invisibility both at home and in the supposed 1991: 5). Yee ifRiggs has had co pay for the risks he has gay mecca of the Castro, he goes in search of some place taken, the price has been worth it, for he has produced better, and finds it, in pare, in the world ofblack women's "oneofthemoscsophisticaced philosophicaland political blues - the blues ofBillie Holiday and Nina Simone­ analyses of race, gender, and sexuality ever put on tape" with which he identifies, turning around, crossing over, (Kleinhans 1991: 118). their unfulfilled desires and yearnings, in the love ofblack I, for one, am glad that anthropology has ceased to men for each other. As Riggs says, "I love Billie Holiday be the sole domain ofwhite Europeans and white North and Nina Simone. I grew up with these songs. To use Americans writing about everyone else. I welcome with chem means bringing up scuff from my past. I played open arms the emergence of a new discipline without chose songs over and over as a kid and listened co them as borders that is as much about the complex process ofself­ my parents played chem .... The Nina Simone song was representation as about the representation of others. A one I had always loved .... I'd listen co Simone's voice new discipline that makes the cross-cutting nature of tremble, it'd gecsosofcand it was so filled with ... I didn't identity its central axis, and a language ofpoetic criticism know then why that song had such strong feeling and its form of expression. A new discipline that explores meaning for me. Now I look back and see obviously why. cultural and gender id entity through words, visual images, Her voice is androgynous and could almost play as a memory, and music. With Gloria Anzaldua and Marlon man's voice .... I guess I'm verymuchlikemanygaymen Riggs as guides, I am ready co make this transfigured in chat some women vocalists are the people whom I most anthropology my new homeland. admire and who speak what I fed" (Kleinhans and Lesage 1991: 125). Through chis cross-gender identification, ACKNOWLEDGMENTS. I wane to thank Lisa Rofd for Riggs shows that co challenge how and who we are cold organizing the panel where I first presented this essay. we can love is co press at the most basic center of human My thanks to Tomas Almaguer for an inspiring existence. conversation about the work ofAnzaldua and Riggs that In Tongues Untied, Riggs gives us a definition of helped me to frame many of my ideas. My thanks co anthropology: chat it is che unending search for what is Nancy Luckehaus for commenting on this essay and u cterly precious. In an essay, he adds chat Americans have suggesting that I revise it for publication in VAR I have been watching the crumbling of the Berlin Wall and the a major debt to Gloria Anzaldua's work and to her dissol ucion of Soviet power as though we were the example. I could not have done without her concept of victors, standing tall above ic all. And yec, he notes, "here the borderlands in thinking through my experience as an ac home, our walls, coo, are fraccured and crumbling .... anthropologist in Mexico. Actually, I don't think any of The mych of what ic means co be an American is facing, us can do without the concept ofthe borderlands-how

90 Volume 9 Number 2 Fall 1993 Visual Anthropology Review was anthropology even thinkable without it? Gloria has Hurston, Zora Neale also inspired me to claim my own mestiza consciousness 1990 [1935] MulesandMen (New York: Harper and as a Jewish Latina, who used to try to pass as a second-rate Row). gringa and so was speechless for years about who she is Kleinhans, Chuck and where she came from. 1991 "Ethnic Notions, Tongu~ Untied: Mainstreams and Margins,,, Jump Cut, 36: I 08-118. Kleinhans, Chuck and Julia Lesage BIBLIOGRAPHY 1991 "Interview with Marlon Riggs: Listening to the Heartbeat," Jump Cut, 36: 119-126. Anzaldua, Gloria Moraga, Cherrfe and Gloria Anzaldua (eds.) 1987 BorJerlllnds/ La Frontera: The New Mestiza (San 1983 This Bridge CaUed My Back: Writings by Rtzdical Francisco: Spinsters/ Aunt Lute). Women ofColor. New York: Kitchen Table, Women 1990a "Bridge, Drawbridge, Sandbar or Island: of Color Press. Lesbians-of-Color Haciendo Alianzas" in Bridges of Perez, Laura Elisa Power: Womens Multicultural AUiances, edited by 1991 "Some Political Problems in Representing Lisa Albrecht and Rose M. Brewer. Philadelphia: Latinas in Literary Criticism and Theory," paper New Society Publishers. presented at chesymposium on Representing the Lives 1990b Making Face, Making SouV Hacimdo Caras: ofWommAcross Cultures, Center for the Education Creative and Critical Perspectives by Women ofColor of Women, University of Michigan, March 11. (San Francisco: Aunt Lute Foundation). Riggs, Marlon 1991 "To(o) Queer the Writer - Loca, escritora y 1991 "A Snap! Queen Deliberates: 'Reading' the chicana" in/nVersions: WritingbyDykes, Queer.rand Media." In Vuieo: The Center far New Television Lesbians, edited by Betsy Warland (Vancouver: Press (November/ December): 1,8. Gang Publishers), pp. 249-263. 1992 "Meet the New Willie Horton," New York Times Anzaldua, Gloria (ed.) Op-Ed, Friday, March 6. 1990b Making Face, Making SouV Hacimdo Caras: Saalfield, Catherine Creative and Critical Perspectives by Women ofColor 1991 "Tongue Tied: Homophobia Hamstrings PBS, .. (San Francisco: Aunt Lute Foundation). The Independent (October): 6-6. Becquer, Marcos Valverde, Maya 1991 "Snap!thology and ocher Discursive Practices in 1988 "Borderlands: Transformation at the Cr~roads, Tongues Untied," WuieAngle 13, 2 (April): 6-17. An Interview with Gloria Anzaldua." In Woman of Benitez, Fernando Power, 10 {summer): 30-31. 1970 Los indios de Mexico. (Mexico: Ediciones Era). Deloria, Ella 1988 Waterlily. Lincoln: UniversityofNebraskaPress. FILMOGRAPHY Finn, Janet (in press) "Ella Cara Deloria and Mourning Dove: Ethnic Notions (1986, 60 min.). By Marlon Riggs. Writing for Cultures, W ritingAgainst the Grain" in Distrubuted by California Newsreel, San Francisco. Women Writing Culture: A ReaJer in Feminist Tel. 415 621 6196. Ethnography, edited by Ruth Behar and Deborah Color Adjustment (120 min.). By Marlon Riggs. Gordon. (Berkeley: University ofCalifornia Press). Distributed by California Newsreel, San Francisco. Freedman, Diane P. Tel. 415 621 6196. 1992 An Alchemy of Genres: Cross-Genre Writing by Tongues Untied (1989, 55 min.). By Marlon Riggs. American Feminist Poet-Critics (Charlottesville: Distributed by Frameline, San Francisco. Tel. 415 University Press ofVirginia). 703 8650. hooks, bell No Regret (30 min.). By Marlon Riggs. Distributed by 1990 Yearning: Race, Gmder, and Cultural Politics Framclinc, San Francisco. Td. 415 703 8650. (Boston: South End Press).

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