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University of Florida Thesis Or Dissertation Formatting Template “EVERY CHILD IS BORN A POET”: THE PUERTO RICAN NARRATIVE WITHIN AMERICAN CHILDREN’S CULTURE By MARILISA JIMÉNEZ A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Marilisa Jiménez 2 To Mami, Papi, Losmin, Abuelo Daniel, Abuela Basilisa, Abuelo Ramón and Abuela María (Yin) 3 ACKNOWLEDGMENTS I would like to thank the University of Florida English Department and the UF Office of Graduate Minority Programs for their support of my doctoral education. In particular, I would like to thank my graduate committee. I especially want to thank Dr. Kenneth Kidd whose motivation, professionalism, and kindness is truly exemplary. I could not have worked out my ideas for this process without the insight and help of Dr. Anastasia Ulanowicz whose support both moral and scholarly has been a blessing. Thank you to Dr. Hedrick, Dr. Page, and Dr. Gonzalez for making this a more well- rounded discussion and recommendations throughout. I also want to acknowledge my fellow doctoral student Emily Murphy for listening to my ideas about chapters and suggesting theoretical readings. I thank my parents, Carlos and Carmen Jiménez, who taught me that I could do anything and that education was an opportunity never to be wasted. My sister, Losmin, taught me that I could be a woman of faith no matter where I go or what I do. To my Lord and Savior Jesus Christ who is the source of everything I can say or do (“never would have made it without You”). 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF ABBREVIATIONS ............................................................................................. 7 ABSTRACT ..................................................................................................................... 8 CHAPTER 1 “NO PAST, NO FUTURE”: INTRODUCING THE PUERTO RICAN NARRATIVE WITHIN AMERICAN CHILDREN’S CULTURE ....................................................... 10 “Eyewitnesses of Sorts”: Post-1898 and Post-Operation Bootstrap Children’s Books................................................................................................................... 18 Children’s Presses on the Island ............................................................................ 36 At the Intersections of Latino/a Studies and Children’s Literature Studies .............. 41 2 PURA BELPRÉ LIGHTS THE STORYTELLER’S CANDLE: THE RE-BIRTH OF PUERTO RICAN CULTURE IN THE U.S. .............................................................. 52 Belpré’s Harlem: A Tale of Two Renaissances ....................................................... 56 Storytelling without a Storybook .............................................................................. 67 Of Juan Bobo and Johnny Appleseed: Folklore and the Harvests of the Renaissance ........................................................................................................ 85 The Children of the Renaissance ............................................................................ 95 3 NICHOLASA MOHR WRITES BACK: A DIASPORA CHILD IN A GARDEN OF MULTICULTURALISM ............................................................................................ 99 Cuentos de Mama y de Hada: Urban Folklore and Remnants of Island Lore in El Bronx Remembered ...................................................................................... 105 Making Magic in Nilda’s World: Barrios, Wonderlands, and Secret Gardens ........ 125 “A Bit of Earth”: Art, Creativity, and Belonging in a Garden of Multiculturalism ..... 145 4 THE LETTER OF THE DAY IS Ñ: A GIRL NAMED MARIA, SESAME STREET’S LANGUAGE PEDAGOGY AND MULTILIGUAL CHILDREN’S CULTURE ............................................................................................................. 150 Rumble: Language as Duel, Bilingual Children’s Culture, and a Girl Named Maria.................................................................................................................. 156 Performing Language: Miming, Music, Theatre and Language (“Rhythm is Gonna Get You”) ............................................................................................... 174 Ensemble: “There is a Place for Us” ..................................................................... 187 5 5 THE CHILDREN OF “STEPMOTHER” ENGLISH: JUDITH ORTÍZ-COFER AND THE RISE OF THE BETWEEN-CHILD ................................................................. 196 “I am a Poem”: Piñeiro, Jiménez, Ortíz-Cofer and the Poetic Discourse of Betweenness ..................................................................................................... 202 Putting Together the Pieces: Ortíz-Cofer and Poetry as Translation and Stealing 211 “Dile, Dile”: Belpré, Mohr, Ortíz-Cofer and Children between the Generations ..... 228 Living in the Fire and/or the Sacrifices of the Between ......................................... 245 LIST OF REFERENCES ............................................................................................. 256 BIOGRAPHICAL SKETCH .......................................................................................... 266 6 LIST OF ABBREVIATIONS Diaspora child A child of the Puerto Rican Diaspora. Post-O.B. Post-Operation Bootstrap 7 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy “EVERY CHILD IS BORN A POET”: THE PUERTO RICAN NARRATIVE WITHIN AMERICAN CHILDREN’S CULTURE By Marilisa Jiménez May 2012 Chair: Kenneth B. Kidd Major: English Piri Thomas, the self-proclaimed Nuyorican “poet laureate of El Barrio,” once said that “every child is born a poet and every poet is the child” (qtd. in McGill 174). In the context of children’s studies, Thomas’ line resounds with a reverence for childhood similar to Romantic poets such as William Wordsworth and Golden Age children’s authors such as J.M. Barrie or Lewis Carroll. However, Thomas’ statement, “every child is born a poet” hails, not from the Lake District, but from the “mean streets” of New York City’s tenements and slums which, for many children, and for some of the Puerto Rican authors/artists presented in this study, is the inspiration for another kind of wonderland. For the greater Stateside and Island Puerto Rican community, children’s literature and media has served as a cultural and national bridge, uniting both Island and stateside communities; it also functioned as an entrance into United States national discourse and an outlet for resistance against U.S. colonialism. Island and U.S. writers and artists, such as Pura Belpré, Nicholasa Mohr, Sonia Manzano, and Judith Ortíz-Cofer, have used children literature and media as a repository for historical memory, as a foundation for a cultural and literary legacy, as a plea for U.S. identity, and as a way of positing new Englishes. Children’s literature also seems like the only literature where Island and 8 U.S. writers have been placed within the same tradition. Examining the Puerto Rican “narrative” within U.S. children’s culture helps scholars reconsider the child’s role, agency, and influence within society and showcases the value of children’s literature and media as an intellectual and creative space for constructing collective ideas of nationhood, language, and culture by both mainstream and marginalized groups. In addition, my study furthers the importance of children’s culture when studying U.S. literature. 9 CHAPTER 1 “NO PAST, NO FUTURE”: INTRODUCING THE PUERTO RICAN NARRATIVE WITHIN AMERICAN CHILDREN’S CULTURE After the Spanish-American War, many Americans first encountered Puerto Rico through newspapers, travel guides, and children’s books. In “Their Islands and Our People: U.S. Writing about Puerto Rico 1898-1920” (1999), Felix V. Matos Rodriquez examines the “diverse yet often overlapping genres” of literature dedicated to introducing the new territory and the U.S.’s new position as a colonial empire to the U.S. public. Citing “military histories, resource assessment and investment guides, popular histories, academic studies, official government reports,” Matos Rodriquez seems almost perplexed by the numerous children’s volumes that form part of this post-1898 literature – “even children’s and juvenile books,” he adds as a kind of exclamation punctuating the previous list. Jorge Duany (2002), citing Matos-Rodriquez, also locates “juvenile novelists” within the extensive anthropological and documentary project undertaken by U.S. writers (anthropologists and newspaper correspondents among the first on site) eager to capture narratives and images of an impoverished Island population on the brink of so-called modernization (60-61). Of the larger project to document the U.S.’s responsibility and relationship to its colonies, Matos-Rodriquez asks: “Who was writing these books? Why? Was knowledge of Puerto Rico the realm of the journalist, the travel writer, or the historian?” (33) We might also ask, however, on the brink of empire, why send in children’s writers along with engineers and geographers? Considering the rush to capture history-in-the-making and consequently empire-in-the-making associated with these initial literary accounts, my dissertation analyzes the role of the children’s realm within the U.S. colonial project. Similarly, at the inception of a U.S. literary
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