Notes
Introduction Fearing the “Dangerous Beasts”: Radical Chicana Poetics 1 . Francisco Lomelí , Teresa M á rquez, and Mar í a Herrera-Sobek identify ten Chicana authors whose “landmark works” were pub- lished around those years: Helena Marí a Viramontes, Cecile Pineda, Sandra Cisneros, Cherrí e Moraga, Denise Chá vez, Pat Mora, Mary Helen Ponce, Laura del Fuego, Gloria Anzaldú a, Margarita Cota Cá rdenas, and Ana Castillo (Lomelí , Má rquez, and Herrera-Sobek 290). The publication boom that started in 1985 and continued into the early 1990s included Latina writers in general, not only Chicanas. Puerto Rican Nicolasa Mohr, who started writing in the early 1970s, published six novels between 1985 and 1995. Puerto Rican writers Carmen de Monteflores and Judith Ortiz Cofer started publishing in 1989, and later Esmeralda Santiago in 1993; Dominican-raised Julia Álvarez published her first work in 1991. The phenomenon is analyzed by Ellen McCracken in the context of the interest on “post- modern ethnicities” in the publishing market, studying how Latina writers negotiate their position as “the exotic Other” (McCracken, New Latina Narrative 4). 2 . In 1985, coinciding with this publication boom, Marta E. S á nchez published her first book-lentgh study on Chicana poetry and already pointed out the existence of a feminist “I”. The phenomenon cre- ated great expectations, as noted for example in Chicana critic Yvonne Yarbro-Bejarano’s words in her prologue to Helena Marí a Viramontes’s short story collection The Moth and Other Stories in 1985: The current effervescence of Chicana writers is a tribute to their strength and determination to be heard, given the nature of the obstacles which lie in their past. The Chicana writers share with all women writers the problem of breaking into a male dominated industry, but they must overcome others related to class and race as well. (Yarbro-Bejarano, “Introduction” 9) Also in 1985, in an essay titled “The Maturing of Chicana Poetry: The Quiet Revolution of the 1980s,” Tey Diana Rebolledo 188 NOTES
asked herself about the meaning of this multiplication of texts and authors: What does all this ferment, outpouring, and explosion of writings by Chicanas and interest in their work mean? At this moment Chicana literature is coming into its own. The angry writings arising from the bitterness of exclusion have diminished. [ . . . ] Silent for too long, the excitement of discovering their ability and potential has turned into a quiet revolution of writing. (Rebolledo 145) In her analysis of poems by Angela de Hoyos, Margarita Cota- Cá rdenas, Lorna Dee Cervantes, Bernice Zamora, Beverly Silva, Pat Mora, Evangelina Vigil, Elena Guadalupe Rodrí guez, Lucha Corpi, and Sandra Cisneros, Tey Diana Rebolledo already notices an evolution from “the type of strictly social commentaries about the oppression of the system and of the oppression of the male machista tradition that occurred in the 1960s and early 1970s” to “social judgments [that] are better integrated into the structure of poetic discourse” (146). In other words, Rebolledo points out Chicanas’ increasing preoccupation with literary craftsmanship. Both Yvonne Yarbro-Bejarano and Tey Diana Rebolledo are examples of the emer- gence of a feminist literary criticism in the field of Chican@ letters in the 1980s. This alternative trend paid closer attention to Chicana writers’ texts and motivations. Another outstanding example may be the collection of articles Beyond Stereotypes: The Critical Analysis of Chicana Literature (1985), edited by Mar í a Herrera-Sobek as a result of the conference “New Perspectives in Literature: Chicana Novelists and Poets” at the University of California, Irvine, held in 1982. Its title is representative of the beginnings of Chicana feminist literary criticism. The essays focused on how Chicana writings were breaking stereotypes about gender, their rejection of sexist behaviors within the Chicano Movement and, most of all, their interest in the figure of the Chicana writer as a role model within Chican@ communities. 3 . I use the popular edition of I am Joaquí n that Gloria Anzald ú a her- self cites in Borderlands/La Frontera as one of the first Chicano liter- ary texts that she had access to in the 1960s (81, 119). At that time, Gonzales gives voice to the Chicano subaltern within the ethnic internal diversity of the United States, drawing on common patterns in US ethnic literature: the motif of the spiritual journey or pilgrim- age, and the use of the epic genre (Sollors 650, 661). 4 . Appiah follows Ian Hacking’s philosophical investigations on “label- ing theory” as the one “which asserts that social reality is condi- tioned, stabilized, or even created by the labels we apply to people, actions, and communities” (Hacking 226). In referring to identities as “kinds of persons,” Hacking describes the continuous redefinition of roles in society, drawing on Foucault’s conception of the subject and Jean Paul Sartre’s views on individualism. NOTES 189
5 . This social-constructivist conception of identity emerged from stud- ies on social psychology, and became common during the US civil rights movements (Appiah 65). 6 . Luis Arenal (1909–1985) belonged to the group of painters who assisted well-known Mexican muralist David Alfaro Siqueiros. 7 . The note on this illustration at the end of the book says “Worshiper at the outdoor Easter Mass held at the UFWOC’s headquarters in Delano, California, 1967” (121).
1 Gloria Anzaldúa’s Poetics: The Process of Writing Borderlands/La Frontera 1 . Anzald ú a herself explains how writing is for her an obsession that she tries to dominate and control. It was not until I consulted her papers at the University of Texas, Austin, that I realized the extent of her obsession, and how the proliferation of her writing and her struggle to organize and reorganize her ideas, positioning and repositioning herself, engaging and disengaging, made her consider writing as a “living hell” that she had to go through due to her position as a spokesperson for women of color. 2 . In Borderlands and in other works and interviews, Anzald ú a shows special interest in her Basque origins. 3 . It is clear that Anzaldú a’s poems include a vocabulary that resonates with that of the Spanish mystic tradition. The path of conocimiento can be read vis-a-vis the Spanish mystic tradition as long as we do not lose sight of the different contexts and goals of each of Anzald ú a’s texts. 4 . In a letter dated 23 September 1981, immediately after the publica- tion of This Bridge , Anzaldú a sent the first chapter of her novel in progress “Andrea” to Norma Alarcó n, editor of Third Woman Press. She explained that she was working on three poetry collections, entitled “Tres lenguas de fuego,” “Mito moderno”, and “More len- guas de fuego.” She was also working on a one act play entitled “La Chingada: A Poem-Play with Music, Dance, Song, and Ritual.” In her 1990 interview with H é ctor Torres, Anzald ú a explains how she was putting together some stories that she first wrote in 1974–1976, that she is calling “Entre Guerras, Entre Mundos.” 5 . In one of the latest drafts before publication, the editor wrote a com- ment in the margins expressing her doubts about whether Anzaldú a should include the border as herida abierta. The editor not only ignored the cultural tradition en españ ol that has traditionally used this metaphor for liminal states (Vivancos Pérez, “La frontera es her- ida abierta”), but also the connection that, in Anzaldú a’s writings, this trope has with the process of writing and identity formation, as well as with the preservation of embodiment. 190 NOTES
6 . In order to analyze the “Coyolxauhqui process” involved in writ- ing Borderlands , I also focused on four questions that may deserve further consideration: (1) What poems are only present in the 1985 draft? (2) What poems are only in the 1986 draft? (3) What poems are in the 1985 and 1986 drafts, but not in the published 1987 version? And (4) are there any poems in the final 1987 version that are new?: I. There are 7 poems that appeared only in the April 1985 manu- script: “Entering into the Serpent,” “Poets” (section II), “The Dark Muse” (section II), “The Enemy of the State” (section II), “Encountering the Medusa” (section III), “Wolf” (section III), and “Serpent Woman” (section V) II. 21 poems appear only in the table of contents of the October 1986 manuscript: “herida abierta” (II), “La cuna” (II), “Chistes tejanos/Texas jokes” (III), “Gente de sombra/sin papeles” (III), “Carta a tí o David” (III), “How We Became Nopal” (III), “Alien Voices” (III), “Across the Bridge to Reynosa” (IV), “La mujer que se visti ó de hombre y cruz ó la frontera” (IV), “Breasts with Penis” (IV), “Esta mujer” (IV), “The Occupant” (IV), “Nightvoice” (IV), “Buses Don’t Run On Sundays, Amigo” (IV), “Old Loyalties” (IV), “Ballad of the Imsomniac” (VI), “Senses Drowning” (VI), “Conjuro para provocar amor” (VI), “I Crawl Away From You, Raza” (VII), “Don’t Give It a Name” (VII), and “Meta-Mexicana” (VII) III. 2 poems are included in the 1985 and the 1986 drafts, but not in the published version: “Tihueque” (85, I; 86, VII), and “Del otro lado” (85, II; 86, IV) IV. None of the poems in the published version were added after October 1986 Five of this poems have appeared in the Gloria Anzaldú a Reader: “The Enemy of the State,” “Encountering the Medusa,” “The Occupant,” “Tihueque,” and “Del otro lado.” The first two were previously unpublished. “Tihueque” was Alzald ú a’s first publica- tion in Tejidos in 1974, and “Del otro lado” opened the anthology Compa ñ eras: Latina Lesbians (1994). 7 . Alma L ópez’s mural Las Four was attacked by young men from the projects at the Community Center of the Estrada Courts in Boyle Heights, Los Angeles, where it was first installed in 1997. They “pulled down the vinyl mural and slashed it because they did not like the choice of the image. They felt Ló pez and her collaborators should have chosen ‘better girls’” (Fitzcallaghan Jones 64). L ópez’s groundbreaking artwork has been repeatedly targeted and censored for including sacred icons with perceived profane elements. The col- lection of essays Our Lady of Controversy: Alma Ló pez’s Irreverent Apparition (2011) has recently examined and contested the censorship of L ópez’s digital collage Our Lady at the Museum of International Folk Art in Santa Fe in February 2001. As Kathleen Fitzcallaghan NOTES 191
Jones argues “[i]n both cases, Our Lady and Las Four , men were threatened by what they perceived the works to be saying about their (the men’s) position in the communities” (Fitzcallaghan Jones 64). Their attack was motivated by their perception of the artist and her collaborators as dangerous beasts, as women of color artists in posi- tions of power.
2 Cherríe Moraga’s “Theory in the Flesh” and the Chicana Subject 1 . The heading on the first page of the manuscript states “Forthcoming in ‘The Sexuality of the Latina,’ Third Woman, Fall 1988.” The anthology The Sexuality of Latinas was not published until 1993. This means that Anzaldú a received this review soon after the publication of Borderlands . The annotations in the margins suggest that Anzald ú a was making comments to Moraga herself. However, the text of the manuscript is faithful to the published 1993 version. If Moraga knew of Anzaldú a’s comments, she still did not change the text. 2 . Moraga describes how her work as coeditor of This Bridge was instru- mental to her final version of Loving , in which she added her auto- biographical essays about her family to a previous 1980 manuscript. First, This Bridge helped her to focus on the intersection of race, class, and sexuality in the understanding of her identity. Second, it helped her realize that political change “can’t be theoretical. It’s got to be from your heart” (Alarcón, “Interview” 129). 3 . The analogy between body and land for women and queers of color refers to the symbolic decolonization of their bodies by traditional patriarchal and xenophobic constructs found in institutions and leg- islations. In “Queer Aztl á n,” Moraga uses the term “decolonizing,” which comes from cultural criticism, to allude to the symbolic dis- memberment of Chicana and mestiza bodies, despite her continuous rejection of academic jargon (Moraga, Last 150). 4 . She notes this evolution in her introduction to the expanded 2000 edition of Loving in the War Years (Moraga, Loving iv). 5 . Moraga’s discourse on the body has been extensively analyzed by Yvonne Yarbro-Bejarano in tandem with other Chicana and Latina artistic representations ( Wounded ). 6 . These three representations of Tonantzin converge with the cult of the Virgin of Guadalupe symbolically in Tepeyacac where, accord- ing to seventeenth century Spanish explorer Luis Lasso de la Vega, a church devoted to the Virgin of Guadalupe was established in the place where Tonantzin was worshipped. This syncretism is present in the understanding of myth by the members of Teatro Campesino. There is a clear connection with the multiple represen- tations of the Virgin Mary in Catholicism that Mariology studies. However, Yolanda Broyles-Gonz á lez does not mention at any time 192 NOTES
this connection. Chicana feminists like Gloria Anzaldú a, Cherrí e Moraga and many others do pay attention to this syncretism by, for example, rehabilitating the Virgin of Guadalupe as a feminist icon. See Castillo, Diosa , and Trujillo, “Virgen.” 7 . Here the difference lies also in Anzald ú a’s and Moraga’s understand- ing of desire. Anzald ú a sees the origins of desire in the mental and the metaphysical, while Moraga gives primacy to the materiality of the flesh and the interaction of the body. 8 . Moraga has used war metaphors extensively. In This Bridge , she describes women of color’s strategy toward liberation as “guerrilla warfare.” She also uses war metaphors in the poem that gives the title to her first book Loving in the War Years, as well as in some scenes in her plays such as the initial scene in Heroes and Saints . 9 . I follow Harry Elam Jr.’s (1997) definition of “social protest perfor- mances.” As opposed to “radical theater,” Elam defines social protest performances as Those performances that have an explicit social purpose, that direct their audiences to social action. [They] emerge solely from marginalized peoples and oppositional positions [and] function as counterhegemonic strategies through which underrepresented groups challenge the dominant social order and agitate for change. The representational apparatus of the social protests performance serves to reinforce, reimagine, and rearticulate the objectives of social and political resistance. (Elam 141) 10 . Both plays are in the tradition of the docudrama, a hybrid genre that was developed during the 1970s by Chicano theater groups like Teatro de la Esperanza. It incorporated research methods and docu- mentary techniques to the writing and representation of plays that dramatized real events, which included social right issues affecting Chican@ communities. 11 . It is interesting to observe how highly Moraga values The Hungry Woman in relation to her other plays. Regarding Watsonville , for example, Moraga states that “the play’s in conversation with an out- side source and myself as the internal source” while “[s]omething like Medea is all my own preoccupations” (Greene 322). 12 . Even though the title refers to the two main myths that are explored in the text, Coyolxauhqui and the idea of dismemberment and re- membering are still in the background in this play, especially at the level of style, where body parts are constantly metaphorized. 13 . As Moraga explains in her self-reflective narratives, the two cohering themes of her work— family and nation — are equally important in the story of Medea. In the play, she tries to condense all her preoc- cupations as an artist. However, according to Moraga, the play was hard to produce. After several staged readings since 1995, it finally received its world premiere at Celebration Theater in Los Angeles in October 2002, directed by Adelina Anthony. The West Press edition NOTES 193
of the play mentions two staged readings of a version in progress in 1995, and one in 1997. As a full-length play, it was presented as a staged reading for the first time in 1999, and twice in 2000. In 2002, during the Third International Conference on Chicano Literature, a version of the play was performed in Spanish. In the United States, there was a second production in April 2006 at Brown University, directed by Patricia Ybarra. 14 . Surprisingly, Moraga mentions a novel as one of her next projects, a genre that she has not considered as being much in line with the coherence of her career (Ikas 171). In “Sour Grapes,” she favors dra- matic writing over writing novels when she states that dramatic writ- ing requires a “small army”, while novels are the work of a “tenacious writer” (Moraga, Loving 156). 15 . Luis Valdez wrote this play when he was a student. It was produced at San José State College, where he studied, in January 1964, a year and a half before he founded Teatro Campesino (Huerta 27). 16 . The audience goes from spectator to participant at the end of the play. “EL PUEBLO” not only represents a group of characters, but also involves the audience. Therefore, everybody in the theater, including the audience, screams “¡Asesinos! ¡Asesinos! ¡Asesinos!” In the published version of the play, “EL PUEBLO” is described as “the children and mothers of McLaughlin; THE PEOPLE/ PROTESTORS/AUDIENCE PARTICIPATING in the struggle (ideally, EL PUEBLO should be made up of an ensemble of people from the local Latino Community)” (90). The strategy, common to social protest performances, incites the audience to take action. The theater experience becomes a ritual enactment of transformative and regenerative implications. For an analysis of the relationship of ritual and social protest performance in the Black Revolutionary Theater and Teatro Campesino, see Harry Elam Jr. (1–17).
3 The Nomadic Chicana Writer in Ana Castillo and Emma Pérez 1 . An earlier title for the anthology was “A Woman to Woman Dialogue: A Radical Third World Women’s Anthology,” as noted by AnaLouise Keating in her chronology of Gloria Anzald ú a’s life (Anzaldúa, Gloria 326). 2 . As a subgenre in experimental feminist theater and performance, the “choreopoem” is developed by Ntozake Shange in for colored girls who have considered suicide / when the rainbow is enuf (1975). For a discussion of this play see Mael. “Teatropoes í a,” a variant explored by Chicana playwrights in the 1980s is studied by Yvonne Yarbro- Bejarano (“Teatropoes í a”). 3 . For Viego, “the Real is the name Lacan gives to the order pertaining to a hypothesized fullness of being prior to the moment when the 194 NOTES
vector representing the movement of life as experienced by the mythic organism of needs is intersected by the vector of language, S→ S’. What is lost by the human organism when it is inscribed in language persists as a remainder, as a remnant of the Real, but it persists as something that cannot be rendered as such in language and that, at the same time, compels all ongoing future attempts at symbolization” (Viego 169). 4 . In this regard, Viego’s comments about Chicana historians can be applied to Chicana writers and scholars in general: “Chicana histo- rians, queer or not, have always been construed as significantly dan- gerous— and we should read Pé rez’s project as dangerous, brilliantly so, because she wants to remap some of the past, to keep whatever may qualify as evidence of a past up for contention within Chicano studies” (Viego 175).
4 Alicia Gaspar de Alba’s Sor Juana as Symbolic Foremother 1 . Enrico Mario Sant í calls this processes of mythification of Sor Juana the “politics of restitution.” It is impossible to know “Sor Juana’s truths” (Santí 129). In fact, what is important is how her figure channels our own political location. For me, these processes result in a fair number of “Sor Juanas” that are available for perusal and that inevitably blur our access to the original. 2 . In reinventing Sor Juana, Gaspar de Alba follows Anzald ú a’s theo- rization of the New Mestiza consciousness in Borderlands— taking inventory, purging, and reinventing. Analyzing the works of visual artists, Carla Trujillo’s reflections about Chicana lesbians’ reinven- tions of the Virgin of Guadalupe clarify Gaspar de Alba’s approach to myth making. Chicana lesbians reconfigure Guadalupe as a “bodily representation of desire” that “serves not only to liberate those who emulate her but to validate lesbians and other women who claim her as part of a representation of themselves” (Trujillo 226). Trujillo’s conclusion conveys a powerful message that will be present in every recreation of a myth in Chicana thought: La Virgen de Guadalupe is as much ours, as Chicana lesbians, as anyone else’s. We can reconstruct all that we wish in order to live our lives as Chicanas and lesbianas in as healthy and fulfill- ing a manner as possible. In this effort, the quest for redefinition of identity, sexuality, and familia generates new ideologies which simultaneously draw and incorporate motifs from the wealth of attributes long associated with La Virgen de Guadalupe. La Virgen de Guadalupe, whom we identify and transform, doesn’t become our Virgen. She remains it. (Trujillo 227) 3 . In other poems, clothes and accessories have different meanings in relation to memory and bonding. In “Shoes: Requiem for Ramona,” the sandals that the poetic persona gave to the late Ramona as a NOTES 195
present represent their bonding and everlasting friendship in mem- ory. The huaraches or “Famolare sandals” keep the memories of Ramona alive in the speaker, trascending death and creating strong bonds among women. As I will analyze in chapter 6 , the sandals and shoes of the dead women in Lourdes Portillo’s documentary about the Ju á rez murders, Se ñ orita extraviada , will become power- ful images that insist on the dismemberment of both the body of the Chicana and the community of women. 4 . Gaspar de Alba’s election of the myth of Pandora deserves atten- tion. It connects with her interests in visual cultures and the position of viewers in relation to the power structure. The echoes of Laura Mulvey’s feminist interpretation of the myth resonate in the novel. Mulvey’s interpretation is as follows: Fashioned by the gods to be given to man in exchange for fire, Pandora’s beauty concealed “that which was sheer guile not to be withstood by men.” Her mythology is embellished by her icono- graphical attribute, the box from which she released trouble into the world . . . [T]he box, and its motif of inside/outside echoes the motif of Pandora’s exterior beauty/interior duplicity. (x-xi) 5 . Nonfictional prose was the genre used for history and philosophy at the time, while the long poem was used for fiction (Paz 480). 6 . Following the nun’s wish, all these materials are burned except for the “Litany in the Subjunctive” that serves as the epilogue. However, the novel includes excerpts and fragments coming from Pandora’s box that are only revealed to the reader. While the real Sor Juana wrote her Primero Sue ño “sin interrupciones ni divisiones fijas: un verdadero discurso,” according to Paz (Paz 483), Sor Juana’s “second dream” in her Pandora’s box emerges in letters and journal excerpts as a second narrative level in a nondialectical way, as an encyclopedia of affects, in the way that Roland Barthes describes a lover’s discourse: “Amorous dis-cursus is not dialectical; it turns like a perpetual calen- dar, an encyclopedia of affective culture” (Barthes 7). As Sor Juana’s second dream, the contents of Pandora’s box are partially revealed as fragments of the nun’s discourse as a lover. 7 . The meaning of dreams in the novel goes beyond their Freudian tra- ditional definition as realizations of a repressed desire. Alicia Gaspar de Alba agains disidentifies with another “Master of the Game,” as Castillo did with Cort á zar. 8 . This tradition is what Paz explains in some 50 pages of his book on Sor Juana as a necessary step in the contextualization of her life and works (Paz 469–507). 9 . De Lauretis’s investigations about the performativity of sexuality through cultural production are worth mentioning here. She con- ceives sexuality as a semiosic process [somatic mental process] in which the subject’s desire is the result of a series of significant effects 196 NOTES
(conscious and unconscious interpretants, so to speak) that are contingent upon a personal and a social history; whereby history I mean the particular configurations of discourses, representa- tions and practices—familial and broadly institutional, cultural and subcultural, public and private—that the subject crosses and that in turn traverse the subject according to the contingencies of each subject’s singular existence in the world. I want to argue that sexuality is one form of (self-)representation, and fantasy is one specific instance of the more general process of semiosis, which enjoins subjectivity to social signification and to reality itself. (Lauretis 303) 10 . While the narrator in Gulf Dreams suggests that sexual pleasure is possible through words and dialogue, Gaspar de Alba tries to materi- alize this possibility in some of her poems, in which textual pleasure is achieved by declamation. Her interest in poetic recitation and declam- atory speech can be studied in relation to Roland Barthes’s ideas on the “pleasure of the text” and how this way of writing is closer to the “genotext,” or Kristeva’s “semiotic” (Vivancos Pérez, “Secret” 438). 11 . Juana In és de la Cruz herself explains her eclectic academic forma- tion in her Respuesta : Y as í , por tener algunos principios granjeados, estudiaba con- tinuamente diversas cosas, sin tener para alguna particular incli- naci ó n, sino para todas en general; por lo cual, el haber estudiado en unas m ás que en otras no ha sido en mí elecció n, sino que el acaso de haber topado má s a mano libros de aquellas facultades les ha dado, sin arbitrio mí o, la preferencia. (Cruz, Poems 22)
5 Weaving Texts and Selves in Sandra Cisneros’s Caramelo 1 . Some fictional works published in the Fall of 2002 were Alma Luz Villanueva’s Luna’s California Poppies (November 2002), Ixta Maya Murray’s The Conquest (October 2002), Josie Mé ndez-Negrete’s fic- tional autobiography Las hijas de Juan: Daughters Betrayed (2002), and the Spanish translation of Denise Ch á vez’s Loving Pedro Infante: A Novel (November 2002). 2 . The authorial “I” herself explains the meaning of piló n at the begin- ning of the section: “Like the Mexican grocer who gives you a pil ó n, something extra tossed into your bag as a thank-you for your patronage just as you are leaving, I give you here another story in thanks for hav- ing listened to my cuento” (433; emphasis in the original). 3 . As noted in the Introduction, the 1980s provided a productive sce- nario for feminists of color, like Chicanas, in multiple associations that boosted collaborative networks of information exchange, fostering a deeper understanding of one another’s unique locations. Only by NOTES 197
crossing bridges and a tolerance for contradictions was this possible, as exemplified by the texts and testimonies in This Bridge . 4 . Emphasizing Cisneros’s interest in ethnography and ethnographi- cal discourse, Sald ívar defines Esperanza and Celaya using the term “anthropoeta” in this way: “I have borrowed the neologism ‘anthropoeta’ from my conversations with Renato Rosaldo and Ruth Behar, ethnographers who are also published poets and blur generic boundaries in their experimental ethnographies.” (Saldívar, Trans- Americanity. Kindle Locations 3354–3355). 5 . My elaboration on Sandra Cisneros’s rasquachismo is indebted to Don Luis Leal’s ideas on Cisneros’s chaotic and accumulative enu- merations that he presented in a seminar class on the Mexican and Chicano short story in 2003. 6 . The conceptualization of the house in Cisneros’s first novel has been approached from different perspectives. Juliá n Olivares, for example, offers an analysis in connection with Gaston Bachelard’s poetics of space. Olivares notes Cisneros’s subversion of the traditional under- standing of the house as a felicitous domestic space, representing a nostalgic desire for stability. However, Cisneros also plays with other contradictory elements pointed out by Bachelard: “the dialectic of inside and outside, that is, here and there, integration and alienation, comfort and anxiety” (Olivares 161). Jacqueline Doyle highlights Cisneros’s interest in exploring the complexity of class and gender issues by introducing in Chicana letters the Woolfean feminist com- monplace of looking for a room of one’s own (13). Finally, Eduardo El í as argues for the importance of the house not only as a reclusive space, but also as a site of resistance in the process of creating a new Chican@ consciousness (80). 7 . The room next to the kitchen is reserved for the daughter, according to the Mexican tradition pointed out in the novel. Ironically, when the Reyes family move to San Antonio, it is the grandmother who tempo- rarily takes this room close to the kitchen in the house on El Dorado Street, while Lala has to sleep in the living room. Lala will have her own room only in the compadre’s house during her visits to Mexico City, and finally in the house that her parents buy in Chicago. 8 . In the analysis of Chicana literature, I define a “discursive site of intervention” inspired by Emma P é rez’s notion of “sitios y lenguas” as a “‘zona de contacto’ o espacio liminal apto para mostrar la con- fluencia no s ó lo de variantes culturales y raciales, sino tambi é n de gé nero/sexo” (Vivancos Pérez, “Secret” 423). 9 . The armoire also includes photographs, a handkerchief, and the grandfather’s ribs as reminders of the wounds of war, as part of both Mexican collective history—the Revolution—and the grandparents’ personal story. Comparing with Gaspar de Alba’s Sor Juana’s Second Dream , it is a kind of “Pandora’s box” for the Reyes family. 198 NOTES
10 . I understand metaphors as both conceptual and “grounded in every- day experience” (Lakoff and Johnson 272). In other words, metaphors have to do with discourses and lived realities, and most accurately with the amalgamation of both. It is worth noting how George Lakoff and Mark Johnson point out that all metaphors are “structural,” “onto- logical,” and “many are orientational” (264). All three characteristics can be seen in my study of the rebozo as metaphor. 11 . The rapacejo, the part between the main cloth of the rebozo and the tassels, became the common way of identifying the region where the rebozo was made. 12 . As the virrey and Count of Revillagigedo states in 1794: “Son una prenda de vestuario de las mujeres, lo llevan sin exceptuar ni aun las monjas, las señ oras m ás principales y ricas y hasta las m ás pobres del bajo pueblo” (Rivero-Borrell, Orellana and Tejada 23). Colors and materials, more or less refined, differentiated the way of dress- ing of Spanish, criolla, mestiza and indigenous women, servants, or slaves. 13 . The tradition of Mexican American weavers in US territories has remained alive from generation to generation of both native and immigrant families. In a study of three families of Hispanic weavers in New Mexico, Helen Lucero highlights the importance of women in the transmission and transformation of the art of weaving with the example of “the matriarch of Hispanic weaving” Águeda Salazar Mart í nez and her daughters (260–6). 14 . In Mango Street , the expansion of Cisneros’s poetics of space is accompanied by the recurrent use of vignettes that may count as independent short stories. In the short stories of Woman Hollering Creek (1991), the character of the “awful grandmother” is already present in “Mericans,” and Lala’s references to her life as a telenovela expand Cle ófilas’s desires in “Woman Hollering Creek.” Some other vignettes in the novel are reminiscent of her poems, a fact that was already observed in Mango Street . For instance, the poem “Roosevelt Road,” written in 1977, is considered by Eduardo Elí as as a clear antecedent to the descriptions in Cisneros’s first novel, with evident autobiographical undertones (79).
6 The Juárez Murders, Chicana Poetics, and Human Rights Discourse 1 . Ló pez’s representation, based on the Coyolxauhqui stone, represents a kind of double dismemberment of the Aztec goddess. Only some of her body parts appear, as opposed to Celia Herrera Rodr íguez’s Nepantlera , where the nepantlera is a half-re-membered Coyolxauhqui (see Juncture ●●● ). 2 . Gonzá lez Rodr íguez contends that, as a result of the conflicting nature of these communicative processes, the murders “have achieved NOTES 199
cyber-event status,” since the internet, new media, and social net- works have played a relevant role in disseminating these discourses (Gonzá lez Rodr íguez 83). 3 . In this regard, Se ñ orita extraviada influences Maquilapolis , a doc- umentary about the maquilas in Tijuana which deals with women workers and the effects of globalization. Portillo’s documentary inaugurates a particular trend of narrative and poetic strategies for documentaries on border issues. 4 . El silencio que nuestras voces quiebra (1999), a collage of testimo- nies by families of the victims published by the S Taller de Narrativa de Ciudad Ju á rez, includes Sagrario’s mother’s testimony about the parakeets that Portillo filmed for her documentary. Molly Molloy’s review of the book tells the story of its publication—Ronquillo allegedly plagiarized some of the contents of the book. This shows more evidence of the manipulation of the media and the publishers in Mexico to make profit and erase the testimonies of the families, which highlights impunity and corruption at all levels of the Mexican administration, including media censorship and control. 5 . There is not a single allusion to the title within the novel, but the year 2666 is mentioned in Bola ño’s 1999 novel Amuleto where Auxilio Lacouture’s hallucination in Mexico City makes Avenida Guerrero look “like nothing more than a cemetery . . . a cemetery from the year 2666, a cemetery forgotten under a dead or unborn eyelid, bathed in the dispassionate fluids of an eye that, for wanting to forget something, has ended forgetting everything” (Tres novelas 210; my translation).
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Index
academe xvi, xix, 30, 84, 181 Moraga, Cherríe and xv, xix, language of 107–8 2, 33, 36, 51–2, 56–8, 73–7, See also antiacademicism 82–4, 87, 93–4, 107, 191n2, academic jargon 107, 191n3 192n7 activism 20, 58, 76, 179 “now let us shift” 82 aesthetic 88, 120, 165–80 Pérez, Emma and 94–6, 100, 105 aesthetic education 81, 85, 111, Portillo, Lourdes and 170 140, 183 “Putting Coyolxauhqui See also Spivak Together” 26, 33, 42, 48, 185 Aesthetic Education in the Era of “To(o) Queer the Writer” 30 Globalization. See Spivak See also Antigua, mi Diosa; Alarcón, Norma 12, 54, 57, 136, 149 arrebato; atravesados; Allatson, Paul 115 autohistoria-teoría; alliances 6, 24, 32, 34, 48, 76, compostura; Facultad; mestiza 87–8, 136, 138, 141 consciousness; nos/otros; This allies xiv–xxi, 88 Bridge Called My Back; This Álvarez, Julia 187n1 Bridge We Call Home; writing Anthony, Adelina 192n13 of convergence anthropoeta 148, 197n4 appearance 115, 120–6, 159, 170, antiacademicism 58, 59, 107–11, 114 194n3 “Antigua, mi diosa” 57 Appiah, Kwame A. 8–9, 11–12, 52, Anzaldúa, Gloria xv, 4, 16, 81–2, 188n4 84–5, 109, 113, 114, 135, 171 appropriation 48, 119, 185 Borderlands/La Frontera xv, Arenal, Luis 10, 189n6 xvi–xvii, 7–14, 23–4, 26–7, arrebato xv, xviii–xix, 33–4, 89, 105 29–49, 51–2, 74, 161–4, Arendt, Hannah 181 174, 188n3 Arteaga, Alfred 12–13 Castillo, Ana and 93–4, 96, 103, artists 12, 93, 191n7 105 as cultural translators 84 Cisneros, Sandra and 159 as seamstresses 135, 191n7 Gaspar de Alba, Alicia and 105, as shamans 30 109, 113, 174 See also intellectuals Gloria Evangelina Anzaldúa atravesados xviii, xxiii, 8, 11, 13, 25, Papers 16, 30, 35–6, 73, 161, 39, 40, 77, 87, 89, 99, 130, 179 189n1 See also border subjects 216 INDEX authority 76, 102–4, 145, 175, as open wound 38, 189n5 181–3 See also borderization; borderlands autobiography 30, 36, 38, 53, 55, border consciousness 19, 113, 185 63, 121, 142, 173 See also border; Gaspar de Alba autohistoria-teoría 29, 32, 35, borderization 16, 36, 40, 43 46, 127 See also border and borderlands Avila, Eric R. 5 borderlands 11, 19, 38–40, 81–2, Ávila, Teresa de 31–2 122, 167 Ciudad Juárez and 175–6 See also border Aztec civilization xviii, xxiii–iv, 10, Borderlands/La Frontera. See 23–6, 32–3, 43–7, 57–8, 63, Anzaldúa 84, 198 Border Matters: Remapping American Aztlán 62, 69 Cultural Studies. See Saldívar border studies 7, 30 Bachelard, Gaston 17, 151, 197n6 border subjects 11, 20, 24, 34–5, Badiou, Alain 180 37, 38, 43, 73, 81, 99, 113, 122 Bard, Patrick 171 See also atravesados Barker, Pat 84 Bowden, Charles 169, 171 Barthes, Roland 195n6, 196n5 Braidotti, Rosi 3–5, 17, 90, 95–7, Benjamin, Jessica 149 101, 105, 158, 179–80, 183 betrayal 62, 66, 84, 100, 103, 171 Anzaldúa and 96–7 Bierhorst, John 32, 62 Broyles-González, Yolanda 56–7, bildungsroman 146 70–1, 191n6 Black Feminist Thought. See Collins Bly, Robert 110 California 60, 64, 67, 93, 109, body, the xv, 53–8, 69, 71 189n7 appearance and 120–6 Cantú, Norma 143 desire and 68, 93, 192n7 capitalism 121, 167 dismembered xvii, 16, 26, 31–5, Caputi, Jane 166–7 37, 62, 65, 70, 81–6, 93, 100, CARA, Chicano Art Resistance and 122, 167, 170, 176, 191n3, Affirmation exhibit 118–20 192n12, 195n3, 198n1 cartography 5, 88, 100, 113, 183 land and 55, 57, 191n3 Castañeda, Claudia 145, 148 memory and xvii, 31–5, 46, 66, Castillo, Ana 4, 17–18, 87–106, 84–5, 93, 98, 100, 104, 120, 146, 187n1, 192n6, 195n7 122, 131, 135, 184, 198n1 Anzaldúa and 93–4, 96, 103, 105 methodology and 24–6, 58, 164 Cisneros and 108, 140, 142–3, queerness and 55 152 sexualized xvii, 12, 38, 63, 82, Gaspar de Alba and 105, 114, 175 95, 169 Massacre of the Dreamers 88, writing and 38, 108, 128, 189n5 107–8 See also desire; sexuality The Mixquiahuala Letters 17, Bolaño, Roberto 20, 171–2, 175–9, 87–106, 144, 152–3, 175 199n5 Moraga and 91, 93–4, 105, 107–8 border, the xv–xviii, xix, xxiii, 11, 20, Pérez and 17–18, 87–106 24, 34, 81, 90, 98, 114, 165–80 See also Xicanisma INDEX 217
Chavez, Cesar 65 See also interconnectivity, Chávez, Denise 187n1, 196n1 interconnectedness and; rebozo Chicana Feminist Thought: The Basic Ciudad Juárez 19–20, 122, 165–80, Historical Writings. See García, 195n3, 199n4 Alma class 1, 6, 9, 11–12, 14–15, 53, 60, Chicana Lesbians: The Girls Our 90, 95, 107–9, 149, 155–7, Mothers Warned Us About. See 187n2, 191n2, 197n6 Trujillo clothing. See appearance Chicana feminism 1–6, 15, 18, coalition politics. See alliances 46–8, 58, 67, 73–4, 76, 88, 89, Coatlicue 23, 32–3, 43–8, 66, 88 96, 98, 110, 115, 118, 138, Coatlicue states 33–4, 45–6 146–7, 150–2, 156–7, 174, collective creativity 73–7 184, 188n2, 191n5 Collins, Patricia Hill 14–15 Chicana/Latina publication colonization 93, 140, 191n3 boom 30, 88, 187n1, 196n3 compostura 135–8 Chicano Art: Inside/Outside the Conner, Randy 77 Master’s House. See Gaspar de conocimiento xv, xviii, 31, 33–5, Alba 45, 47, 76–7, 84, 89, 105, 113, Chicano Movement 6, 8, 10–11, 135, 189n3 14, 18, 114, 116, 146, 182, consciousness 23–7, 197n6 184, 188n2 See also Coyolxauhqui Chicano Poetics. See Arteaga consciousness; differential Chican@ identity 8–12, 189n5 consciousness; mestiza Chican@ studies xviii, xix, xxiii, 5–8, consciousness 14, 20, 81, 181–6, 194n4 consensus 186 evolution of 162–3 Corpi, Lucha 188n2 child narrators 19, 145–50 corruption 199n4 Chomsky, Noam 169 Cortázar, Julio 18, 101–3, 114, choreonarratives 92 176, 195n7 choreopoems 91, 193n2 Cota-Cárdenas, Margarita 187n1 Cisneros, Sandra 4, 19, 108–9, Coyolxauhqui xvii–xviii, xxiv, 16, 136–59, 187n1, 188n2, 197n4, 32–5, 37, 43–8, 61, 65–6, 75, n5, n6, 198n14 81–4, 88, 93, 135, 159, 165–8, Anzaldúa and 159 190n6, 198n1 Caramelo 19, 137–59, 174–5 Coyolxauhqui consciousness 33–4, Castillo and 108, 140, 142–3, 152 43, 57, 105 Gaspar de Alba and 140, 152, Coyolxauhqui imperative 33, 36, 159, 174, 197n9 43, 47, 57, 93, 181–6 The House on Mango Street 137, cuentista (storyteller) 59, 109, 131, 141, 145–7, 151, 155, 198n14 142 Moraga and 108–9, 158 cultural nationalism 6–7, 99 My Wicked, Wicked Ways 145 See also ethnonationalism; Pérez and 140, 142 postnationalism Portillo and 170 cultural schizophrenia 19, 113, Woman Hollering Creek and Other 185 Stories 145, 198n14 curanderas 122–3, 131 218 INDEX
Cruz, Sor Juana Inés de la xix–xxi, dramatic writing 58–61 18–19, 113–31, 164, 194n1 dreams 91–105, 122, 126–31, 195n3 Carta Atenagórica xx dressing. See appearance Primero Sueño 126, 130, 195n6 Respuesta a Sor Filotea xix–xxi, education xviii, 14, 30, 53, 58, 63, 116, 126, 196n11 71–2, 81, 85, 107, 111, 124, 126, 135, 137, 140, 180, 183 dangerous beasts poetics xiii–xv, See also academe xvii–xviii, xxi, xxiii, 1–20, Elam, Harry Jr. 193n16 25–7, 48–9, 52, 58, 76–7, 81, Elías, Eduardo 146, 197n6, 198n14 87–90, 94, 97, 100, 103–5, Ellison, Ralph 181 107–11, 115, 159, 162, 164, embodiment 140, 145 167, 169–70, 174, 176, 180, Ensler, Eve 165 183, 185 Entwistle, Joanne 121 death 74–7, 84 epistemology 163–4, 183 Decolonial Imaginary. See Pérez essentialism. See strategic decolonization 88, 97–8, 140, essentialism 191n3 ethics 20, 180, 184–6 Deleuze, Gilles 17, 45, 95, 97 ethnography 14–15, 90, 92, democratization 7, 19–20, 89, 111 101–2, 147 desexualization 125 Ethnic studies 181 desire 17, 51–2, 192n7, 194n2 ethnonationalism 6, 10, 24, 56, 99, empowerment and 89, 91 182, 184 lesbian 51–2, 71, 97–8, 114, See also cultural nationalism; 123, 128 postnationalism nomadism and 92, 97–101 exile 93, 95–7 detective fiction 172–5 exotization 139, 169, 172, 179–80, diaspora 82, 87, 95–7 187n1 difference 4, 24, 48, 61, 95, 138 differential consciousness 19, 138, Facultad, la 11, 26, 40–2, 64, 85 150, 158 family 55, 60, 63, 153, 192n13 diosas 23, 32, 46, 57–8, 61–2, 65, fantasy xxi, 23, 65, 67, 95, 98, 100, 159, 191n6, 194n2 115, 140, 196n9 disability 30, 65 fashion. See appearance disidentification xiv, 76, 99, 115, female masculinity 129 125, 147–50, 185 femicide 167–9, 172, 175–7, 179 displacement 21, 25, 87, 89, 90, Femicide Machine, The. See González 93–7, 142 Rodríguez dissociation 25, 48 feminisms xiii, xix, 2–4, 11–12, disciplines. See interdisciplinarity; 17–18, 54, 56, 66, 77, 87, 95, transdisciplinarity 107–8, 110, 114, 117, 125, diversity 11, 114, 163 130, 136, 161, 170, 193n1 internal 12, 24, 69, 88, 110, Anglo American 11 188n3 Chicana xiii, xix, 2, 4, 11–14, 54, domesticana 150 56, 66, 77, 87, 107–8, 117, Doyle, Jacqueline 197n6 125, 130, 136, 170 INDEX 219
dangerous beasts and 4 Sor Juana’s Second Dream 18–19, French 95, 110 113–31, 152, 195n5, n6, n9 lesbian 114, 117, 130 See also border consciousness; US Third World 1–2, 161, 193n1 cultural schizophrenia See also This Bridge Called My Back gender xii, xix–xx, xxiii, 4–11, 15, fetishism 125, 129 19, 30, 45, 52, 67, 70, 82, 89, figurations xxi, 3–5, 11, 13, 16, 23, 90–1, 98–9, 101, 165–80, 182, 25, 27, 40, 43, 48, 52, 62, 69, 188n2, 197n6 77, 81–6, 90, 95–7, 114, 138, appearance and. See appearance 145, 184 border and 165–80 Fitzcallaghan Jones, sexuality and. See sexuality Kathleen 190n7 See also transvestism Fornes, María Irene 60 gender violence 19, 90–1, 98–9, Foucault, Michel 17, 53, 69, 71, 101, 165–80 90, 99, 148, 188n4 ghosts 90–2, 102, 105, 142 Freud, Sigmund 100, 127, 195n7 girl narrator. See child narrators fronterótica 114 global activism 19–20, 72, 136–8, Fuego, Laura del 187n1 165–80 Fuentes, Carlos 139, 171, 179 globalization 19–20, 140–1, 143, 174–5, 181–2, 199n3 Galán Benítez, Carmen 171 goddesses. See diosas García, Alma 5–6 Goldman, Francisco 176 García Lorca, Federico xiii–xiv, xix, 67 Gómez, Marsha 32 García Márquez, Gabriel 139 Gonzáles, Rodolfo “Corky” 7–12 Gaspar de Alba, Alicia xix, 4, Gonzales-Berry, Erlinda 102, 146–7 18–20, 113–31, 165–80, 185 González, Deena xviii, 15, 74, 118, Anzaldúa and 105, 109, 113, 174 121 “Beggar on the Cordoba González Rodríguez, Sergio 167, Bridge” 122 169, 176, 179, 198n2 Castillo and 105, 114, 175 Gramsci, Antonio 53, 55, 71 Chicano Art. Inside / Outside the Greene, Alexis 59–61 Master’s House 15, 118–20 Grosz, Elizabeth 98 Cisneros and 140, 152, 159, Guadalupe. See Virgen de 174, 197n9 Guadalupe Desert Blood: The Juárez guilt 116, 118, 124–5 Murders 18–20, 171–5, 179–80 Gutiérrez, Ramón A. 5–6, 93 Giving Back the World, MA Thesis 109–10 Habermas, Jürgen 6 Making a Killing: Femicide, Free Haraway, Donna 3, 96 Trade, and La Frontera 170 Hernández, Ellie 5–7, 18, 90, Moraga and 113–14, 130–1, 175 97–101 Our Lady of Controversy: Herrera Rodríguez, Celia 81–5, Alma López’s Irreverent 198n1 Apparition 190n7 Herrera-Sobek, María 6, 187n1, Pérez and 105, 109, 114, 129–31 188n2 Portillo and 170, 173 heteronormativity 124 220 INDEX heterosexism 10, 62, 90, 99 internet 199n3 Hillman, James 23–7, 43–5, 100 Irigaray, Luce 17 homoeroticism xx, 62, 68, 118, Islas, Arturo 143 124, 127 homophobia xv, 62, 70 Jay, Paul 140–1 House on Mango Street. See Cisneros Juárez. See Ciudad Juárez Huerta, Dolores 66, 114 junctures xxiii, 85, 107, 138, 164 Huerta, Jorge A. 70, 193n15 Jung, Carl 23–4, 56, 100 Huitzilopochtli 57 human rights 19–20, 57, 165–80 Kahlo, Frida 114, 119 literary forms and 171 Keating, Analouise 30, 45, 48, 82, Hungry Woman, the 57, 61–3, 136, 193n1 66, 69 Klein, Julie Thompson 162–3 Hungry Woman: A Mexican Medea. Kristeva, Julia 196n10 See Moraga hybridity 114, 139, 143 labels 188n4 Lacan, Jacques 17–18, 99–100, I am Joaquín. See Gonzáles, Rodolfo 104–5, 193n3 “Corky” Lakoff, George 198n10 identification. See disidentification language 9, 18, 31, 93, 100, 115, identity. See Chican@ identity 120, 182, 194n3 identity formation 4, 30, 31, 36, creativity and 129–31, 157 121, 135, 137, 147, 150, of dangerous beasts poetics 43, 155–6, 189n5 68, 71–2, 74–5, 93, 107–8, 185 identity politics 19, 157 ideology and 38, 99, 107–8, 168, Ikas, Karin R. 193n14 185 imaginary 17, 171, 173–4, 179 Lara, Irene 34 immigration xix, 95–7, 139, 153, 185 Lasso de la Vega, Luis 191n6 imperialism 140 Last Generation, The. See Moraga inclusiveness xv, 7, 73, 163 latinidades 9 indigenism 43, 45, 55–6, 76, 82, 113 Latina feminisms. See Chicana INTAR Theater 60 feminism intellectuals 30, 48, 53, 58, 63, 66, Lauretis, Teresa de 3, 96–7, 128, 69, 71–2, 113, 181, 185 195n9 See also artists leadership. See intellectuals Inter-American Commission on Leal, Luis xx, 197n5 Human Rights 169 lesbianism 31, 38, 43, 51–2, 54, interconnectivity 19, 105, 135, 141, 71, 97–8, 113, 194n2 150, 155–9, 168, 174, 183 Lezama Lima, José 176 interconnectedness and 155–8 LGTBQ communities 87 intercultural communication 140–1, Llorona, la 32, 57, 66 153, 158 Lomelí, Francisco A. 6, 14, 145, See also interconnectivity 187n1 interdisciplinarity 7, 161–4, 188n3 López, Alma 46–7, 114, 164–6, See also transdisciplinarity 190n1, 198n1 internal colonization 93 López, Yolanda 32, 46 INDEX 221
Lorde, Audre 84 metapoetics 16–17, 29–31, 35, 43, love 72, 77, 101, 105, 195n6 48, 58, 93, 176 Lucero, Helen 198n13 metatheatrical performance 64–9 Lunsford, Andrea 135 methodology xiii, xv, 14–15, 23–4, Lyotard, François 148 26, 29, 35, 43, 48–9, 72, 87, 110, 113, 118, 131, 138, 158, MacFarland, CA 65–6 161–4, 169, 183–4, 192n10 machismo xv, 10, 33, 131 Methodology of the Oppressed. See Malinche, La 32, 61, 66, 84, 114, Sandoval 171 Mexican Revolution 142, 151, 154, maquiladoras 165–6, 170–9, 199n3 156, 197n9 Mark of the Beast 2, 81–2, 161–2, Mexico 142, 155–7, 165 170, 172 Colonial 115–19, 125–6 Márquez, Teresa 6 Mexico City 84, 142, 154, 158 marriage 124, 126, 129 migration. See immigration and Martín-Rodríguez, Manuel 31–2, diaspora 139, 146, 153 minding appearances 121 masculinity 90, 125 Mohr, Nicolasa 187n1 See also female masculinity; Molloy, Molly 199n4 machismo Monárrez Fragoso, Julia 168, 176–8 McCracken, Ellen 139, 187n1 monstrosity xiv, xvii, xx–xxi, 1, 46, Medea 61–3, 66, 67, 72, 61, 90, 119, 124–5, 159, 172 192n11, n13 Monteflores, Carmen de 187n1 mediation. See participant-observers; Mora, Pat 81, 187n1, 188n2 outside-insiders Moraga, Cherríe L. 4, 16–17 Medusa 39, 40, 43–5, 81 Anzaldúa and xv, xix, 2, 33, 36, memory 35, 92, 130–1, 139, 153 51–2, 56–8, 73–7, 82–4, 87, appearance and 194n3 93–4, 107, 191n2, 192n7 desire and 93, 97–101 Castillo and 91, 93–4, 105, 107–8 as history 97, 104, 140 Cisneros and 108–9, 158 photographs and 143–5 Gaspar de Alba and 113–14, traveling and 92 130–1, 175 Mena, María Cristina 156 Giving Up the Ghost 55, 58–9, Méndez, Miguel 152 62, 91, 130, 146 Méndez-Negrete, Josie 196n1 Heroes and Saints 59–61, 64–72, Mesa-Bains, Amalia 150 113–14, 158, 192n8 mestizaje 32, 155–6, 170 The Hungry Woman 57, 59, mestiza consciousness 11, 23, 27, 61–3, 66, 93, 192n11 33, 36, 45, 136, 194n2 The Last Generation 55, 191n3 metaphors 8, 11, 19, 23–4, 31–4, Loving in the War Years 36, 35, 38, 45–6, 49, 52, 54, 56–8, 53–4, 58–9, 108, 191n4, 66, 70, 72, 75–6, 81, 89, 100, 193n14 109, 115, 119–20, 135–8, 146, Pérez and 91, 100, 105, 130 149–50, 153–9, 168, 174, 176, Waiting in the Wings 55, 63 183, 185, 189n5, 192n8, n12, Watsonville: Some Place Not 198n10 Here 59–61 222 INDEX
Moraga, Cherríe L.—Continued outside-insiders xvii–xxi, 14–16, 74, A Xicana Codex of Changing 89, 111, 118, 181–6 Consciousness 73–7, 81–5, 94 See also theory in the flesh; Pandora 125, 127, 195n4, 197n9 This Bridge Called My Back; participant-observers 14–15, 102, visionary characters 118, 138, 147 multidisciplinarity. See Paz, Octavio 113–18, 195n5, n6, interdisciplinarity; n7, n8 transdisciplinarity Pérez, Emma Mulvey, Laura 125, 195n4 Anzaldúa and 94–6, 100, 105 Muñoz, Carlos 163 Castillo and 17–18, 87–106 Murray, Ixta Maya 196n1 Cisneros and 140, 142 mysticism 31–2, 189n3 The Decolonial Imaginary 88, myth-making 23–7, 43–8, 56, 97–8, 140 70–1, 114, 118 Gaspar de Alba and 105, 109, mythopoetic selves 17, 26, 56–7, 114, 129–31 63, 69 Gulf Dreams 87–106, 109–10, 129–31 NAFTA, North American Free Moraga and 91, 100, 105, 130 Agreement 167, 174 See also sitios y lenguas narcotrafficking 167–8, 173 performativity xv, 29, 45, 47, 89, Nathan, Debbie 170 100, 114, 193n16, 195n9 nation 55, 153, 192n3 pesticides 60–1, 64–5 See also postnationalism; pilón 143, 196n2 transnationalism Pineda, Cecile 187n1 nepantla 15, 33–4, 81–5, 89, 114, plagiarism 74–5, 77 142, 159 poetics. See Arteaga; dangerous nepantlism 34, 76, 81–5, 198n1 beasts poetics Nicolescu, Basarab 164 poetics of space 150, 183, 197n6, Nietogomez, Anna 115 198n14 Nin, Anaïs 94 polycentricity 11, 16, 23–7, 33, Nomadic Subjects. See Braidotti 43, 46, 56, 61, 63, 76–7, nomadism 3, 17, 89–90, 92, 93–7, 85, 91, 93, 100, 103–4, 105, 120, 139, 142m 179 113–14, 144 nos/otros xv–xvi, xxi, 39, 43, 77 Ponce, Mary Helen 187n1 nos/otros scholarship xxi, 77, 184 Portillo, Lourdes 19–20, 169–71, nostalgia 96–7, 105, 175, 182, 184, 173, 195n3 197n6 Portillo-Trambley, Estela 18–19, 115–16 Olivares, Julián 155, 197n6 positionality xiii–xxi, 7, 12–16, 19, Oliver-Rotger, Maria Antonia 108 99, 118–20, 172 oppositional consciousness 31, 43, postmodern ethnicities 187n1 48, 75, 87, 118 post-movement 5, 162 Ortega, Carlos F. 5, 162 postnationalism xxiii, 5, 162, 167 Ortiz Cofer, Judith 187n1 prostitution 177–9 Other, the 159, 187n1 Puig, Manuel 176 INDEX 223 queerness 7–8, 13, 19, 38–40, 43, Santiago, Esmeralda 187n1 51–2, 55, 59, 63, 69, 91, 191n3 Santí, Enrico Mario 194n1 Quetzalcóatl 57, 62 Sartre, Jean Paul 188n4 Quintana, Alvina 92, 102 Sassen, Saskia 6 scopophilia 125 racism xv, 1, 2, 70 shamans 30 radical chicana poetics. See Shange, Ntozake 91, 193n2 dangerous beasts poetics self-reflection 53, 58, 71, 93, 192n13 radicalism xv, 1, 53, 55, 57, 69, 75, Señorita extraviada. See Portillo 107, 148 sexism. See machismo Ramos, Juanita 38 sexuality 1–11, 15, 17, 26, 30, rasquachismo 150–3, 159, 197n5 38–9, 43, 45, 52, 60, 67–8, 71, Raya, Marcos 119 93–5, 97–102, 119, 123, 128, Rayuela. See Cortázar 130, 137, 162–3, 173, 179, role of readers 101–4 191n2, 194n2, 195n9 Real, the 99–100, 105, 193n3 desire and 97–101, 113–17, Rebolledo, Tey Diana 146, 124, 126 187–8n2 Silva, Beverley 188n2 rebozo 19, 150, 153–9, 174, Siqueiros, David Alfaro 189n6 198n10, n11, n12 sitios y lenguas 110, 197n8 rebozo writing 157–8 Slaughter, Joseph 20 religion 11, 13, 44, 60, 68, 116, soldaderas 114 120, 126, 190n7 Sollors, Phillip 188n3 reparation 91, 93, 114, 171 Sor Juana. See Cruz resistance 107, 197n6 Sor Juana’s Second Dream. See Rich, Adrienne 128 Gaspar de Alba Ríos, Isabella 145 Spain xviii, 193n13 rites of passage 120, 131, 185 speaking for others xiv, 137–8, 181–6 Rivera, Tomás 110, 146 specificity 2–4, 8, 17, 52–4, 71, ritual 64, 67, 193n6 75, 85 Rodríguez, Elena Guadalupe 188n2 spherical actor 70–1 role models 67, 115, 185 spiritual activism 34, 39, 75, 82, 84 Ronquillo, Víctor 169, 199n4 spirituality 30, 32, 57, 95, 100 Rosaldo, Renato xviii, 14–15, 102, Spivak, Gayatri Chakravorty xvii, 118, 147 140, 183–4 Stevens, Wallace 110 Salazar Martínez, Águeda 198n4 storytelling. See cuentista Saldívar, José David 5–6, 139, 148, strategic essentialism 110 197n4 survival 11, 72, 170 Salinas, Marta 66 Sánchez, Marta E. 76, 187n2 Tabuenca Córdoba, María S. 172, Sandoval, Chela 4, 19, 138, 150, 193n16 158 Tafolla, Carmen 157 Sanmiguel, Rosario 171, 179 Teatro Campesino 17, 56, 69–71, Santamaría, Francisco 149 191n6, 193n15 Santa Teresa. See Ávila, Teresa de Teatro de la Esperanza 192n10 224 INDEX teatropoesía 193n2 Villanueva, Alma Luz 146, 196n1 theoretical subject 4, 7, 12–14, 67, Villanueva, Tino 9–10 89, 125, 143, 147–9, 151, 170, violence. See gender violence 187n2 Viramontes, Helena María 187n2 theory in the flesh 53–8 Virgen de Guadalupe 10, 23, 32, 46, thesis novel 90, 115, 118 61, 66–7, 114, 191n6, 194n2 Third Woman Press 189n4 visionary characters 53, 61–4, 65, This Bridge Called My Back 1–2, 4, 67, 69–70 8, 16, 35, 53–4, 73–6, 87, 107, visual arts 32, 44–8, 81–6, 114, 141, 148, 163, 193n1 118–20, 165–7, 194n2 This Bridge We Call Home xv–xvi, 141 voyeurism 125, 129 tolerance for contradictions xvi, 48, vulnerability 13, 131 77, 85, 89, 140, 149, 180, 185 Tonantzin 10, 23, 32–3, 46, 57, weaving 198n13 62, 191n6 as metaphor 135–9, 153–9 See also diosas See also compostura Torres, Héctor 189n4 Whitechapel, Simon 171 totalizing novel 139–40, 176 Wilson, August 59 traitors. See betrayal Wittig, Monique 3, 96 transborder literary criticism 172, women bonding 89–90, 94–5, 195n3 180 women studies xix, 3–5, 11, 17, 181 transculturation 142 writers. See artists; intellectuals transdisciplinarity 3, 7, 81, 151–4, writing 1–5, 25–7, 30, 33, 38, 171–2, 179 42–3, 87, 120, 127–31, 156–9, translation 81, 84 189n1, n5, 190n6 transnationalism 139–43, 149–53, desire and 51–2, 68, 97–101, 175 104–5 transvestism xx–xxi, 122 dramatic 58, 68 trauma 18, 99, 125, 154 healing and 16, 30, 34–5, 74–5, traveling 89, 92–4, 98–9, 102–3, 92, 105 150–3 writing of convergence 25–6, 163–4, tribalism 55, 75 167, 171 Trujillo, Carla 192n3, 194n2 2666. See Bolaño xenophobia xv, xviii Xicana 55–6, 82–3, 107 Ulibarri, Sabine 146 Xicana codex 107, 185 United Farm Workers Union 64–5, Xicanisma 18, 107–8 66, 189n7 Urioste, Donald W. 14, 146 Yarbro-Bejarano, Yvonne 68, 70, 103, 187n2, 191n5, 193n2 Valdez, Luis 60, 65, 69–71, Ybarra, Patricia 193n13 193n15 Ybarra-Fraustro, Tomás 150 Viego, Antonio 18, 99–101, 104–5, See also rasquachismo 193n3, 194n4 Vigil, Evangelina 188n2 Zamora, Bernice 188n2 Villa, Pancho 10, 60, 70, 142 Zapata, Emiliano 10