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Hispanic American Literature, Small, Independent Presses That Rely Upon U.S

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Hispanic American Literature, Small, Independent Presses That Rely Upon U.S HISPANICHISPANIC AMERICANAMERICAN LITELITERRAATURE:TURE: DIVEDIVERRGENCEGENCE && C0MMONALITYC0MMONALITY BY VIRGIL SUAREZ n an autobiographical sketch written in 1986, the some of the best work is coming from such sources. respected Chicano American novelist Rudolfo Increasingly, though, with the recognition associated Anaya observed that “if I am to be a writer, it is with the nation’s most prestigious literary awards -- the ancestral voices of…[my]… people who will the Before Columbus Foundation Award, the National form a part of my quest, my search.” Book Award and the Pulitzer Prize -- Hispanic IAncestral voices are very much a part of Hispanic American authors are being courted by the publishing American literature today, a tradition harking back establishment. more than three centuries that has witnessed a Much of the attention of recent times, justifiably, is dramatic renascence in the past generation. As the owed to the groundbreaking work of the Chicano Arts Hispanic experience in the United States continues to movement of the late 1960s and early 1970s and the confront issues of identity, assimilation, cultural emergence of Hispanic American poets such as heritage and artistic expression, the works of Rodolfo Gonzales and Luis Alberto Urista (“Alurista,”) Hispanic American writers are read with a great deal and other writers who chronicled the social and of interest and passion. political history of the movement. The campaign was In a sense, the literature functions as a mirror, a propelled by grassroots activists such as Cesar reflection of the way Hispanic Americans are viewed Chavez and Dolores Huerta who played key roles in by the mainstream culture -- but not always the the unionization of migrant workers achieved through majority. Readers and critics alike tend to celebrate huelgas (strikes and boycotts). As invariably has this literature. It is rich, diverse, constantly growing, happened throughout history, paralleling political blending the history that infuses it with a impassioned issues in one country or another, the plight of the feeling of contemporaneity. migrant workers and their struggle for recognition In essence, the boom in the literature today is being were directly reflected in the arts. A prime example forged in English, by people who live and work in the was the work of Luis Valdez and Teatro Campesino, United States -- not in Spanish, as was the case with his theater troupe, which played a pivotal role in writers of generations and centuries past. This is a creating solidarity and new social consciousness. key difference, and a point of departure. During the strikes, Teatro Campesino performed from True, there are still some very real issues and the back of flatbed trucks using striking migrant problems facing Hispanic American writers in terms workers as performers -- theater for the people and of finding outlets and venues for their work, as there by the people. One of his plays, Zoot Suit, went from are for other multicultural artists and, to be sure, rudimentary stagings to workshops to successful writers in general. Although more work is being productions in Los Angeles and New York, eventually issued each year by major publishing houses, most of becoming a film. the interesting and engaging literature comes from In referring to Hispanic American literature, small, independent presses that rely upon U.S. definitions are important. In this context, we are Government, private and university grants for speaking about the literature written in English, and stability. Literary journals and reviews always have which mainly concerns itself with life in the United been an outlet for Hispanic American voices, and States. An early classic of this type is exemplified by U.S.SOCIETY&VALUES / FEBRUARY 2000 32 the publication in 1959 of Jose Antonio Villareal’s Oscar Hijuelos’ The Mambo Kings Play Songs of Love Pocho, a novel about a youth whose parents migrate (1989), along with the poetry of Gustavo Perez to the United States from Mexico, in Depression-era Firmat, Ricardo Pau-Llosa and Carolina Hospital. America, to better their lives. Their literary motivation, for the most part, is rooted Hispanic American literature contains, within its in the reality of exile. tent, writings from different countries and cultures. Students of Hispanic American literature and Villareal represents one of the major Hispanic groups casual readers alike can gain fresh insights into the to contribute -- Mexican Americans. (A word of diversity of this literature through a number of definition is in order. Mexican Americans are anthologies. These collections gather both the distinguished from Chicanos in that the former feel established and emerging voices from among the more of a national identity with Mexico; Chicanos, on main Hispanic American groups in the United States, the other hand, are more culturally allied with the as well as new voices emerging from the Dominican, United States and particularly with Native Colombian and Guatemalan communities, currently Americans.) To a great extent, their literary tradition represented by the work of Julia Alvarez, author of owes a debt to the corridos, the popular ballads of the How the Garcia Girls Lost Their Accents (1991) and mid-19th century that recounted heroic exploits. other novels, and books such as Jaime Manrique’s These corridos were also precursors to Chicano Twilight at the Equator (1997), Francisco Goldman’s poetry of the 20th century, laying the foundation for a The Long Night of the White Chickens (1992), and poetics that fuses the oral and the written, music and Junot Diaz’s Drown (1996). Each of these writers is word. In the corrido we begin to see the mixing of the bringing along a piece of a homeland that most likely Spanish with the English, thus creating a new is unfamiliar to the general readership. language with which to express a new reality. ith this impressive diversity of voices goes a Today, Chicano American writers have made an caveat. Teachers, editors and readers more impression with such classic works as Rudolfo Wthan ever have to be sensitive to issues of Anaya’s Bless Me, Ultima (1972), Sandra Cisneros’ factionalism along national lines, which is only The House on Mango Street (1985), Denise Chavez’s natural, since the grouping of these distinct and The Last of the Menu Girls (1986), Tomas Rivera’s separate cultures under one term, Hispanic And the Earth Did Not Devour Him (1987), and the American, can seem forced. Yet one can argue that poetry of Jimmy Santiago Baca, Loma Dee bringing all these cultures together under the one Cervantes and Leroy V. Quintana. They represent term may be comparable to the tension of sharing a the heartbeat of the Chicano American community -- meal with distant relatives -- there is a separate the living, breathing record of these people in the history and experience, yet there exists a bond of United States. recognition, a family camaraderie. Puerto Ricans are the next largest contributors to The central point of unity among Hispanic the canon of Hispanic American literature with works American writers is language. While they may speak such as Judith Ortiz Cofer’s The Line of the Sun with different accents and use different expressions, (1989) , Piri Thomas’ Down These Mean Streets they all share the experience of bilingualism. The (1967), Ed Vega’s Casualty Report (1991), and the ability to communicate in two languages, and more poetry of Victor Hernandez Cruz, Miguel Algarin and important, to think and feel in two languages, at Sandra Maria Estevez. They reflect the rhythms of times brings with it the phenomenon of being unable their island that have been transported to New York to express oneself fully in only one. Linguists term City, San Francisco and other U.S. urban centers. this “interference,” and generally view it as a negative The next largest group to be represented are the trait, or shortcoming. Still, Hispanic American writers Cuban Americans, making recent additions to and readers of Hispanic American literature assert bookshelves and college syllabi with works such as that the intermingling of the two languages is an Roberto G. Fernandez’ Raining Backwards (1988), effective means of communicating what otherwise Elias Miguel Munoz’s The Greatest Performance could not be expressed. Thus, many Hispanic (1991), Cristina Garcia’s Dreaming in Cuban (1992), U.S.SOCIETY&VALUES / FEBRUARY 2000 33 American writers use Spanish in their work because it reflected in the writings of the poets from those is an integral part of their experience. heritages, such as Firmat and Cofer. Urban life in the Indeed, many Hispanic American authors believe United States has given rise to a new tradition in that in the lives of their characters Spanish is not a Hispanic American literature, that of the barrio, the “foreign” language, but rather a vital part of everyday inner city. While for Mexican Americans the barrio is speech and as such should not be emphasized with likely to be in California, the southwestern U.S. or the use of italics. They emphasize the importance of Chicago, for the Puerto Rican the barrio is in New Spanish by doing this. So many of the writers York City, evident chiefly in the work of Thomas and express themselves in English -- the language of the Vega. Cuban Americans are preoccupied with the mainstream (whatever that may mean) -- but are dilemmas and frustrations of political exile. Their resisting the destruction of their culture and thus characters often feel a yearning and sense of loss for preserve their identity by using Hispanic American a homeland to which they cannot return. This is expressions, points of reference and experiences. most obvious in nostalgic literature set in the idyllic Hopefully this will become accepted not as “exotic,” Cuba of the past, as well as those speculating on the but rather part of the redefined mainstream in the Cuba of the future, as in the novels of Roberto G.
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