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US Latina Writing T. C. İstanbul Üniversitesi Sosyal Bilimler Enstitüsü Batı Dilleri ve Edebiyatları Anabilim Dalı Amerikan Kültürü ve Edebiyatı Bilim Dalı Doktora Tezi Texts on the Borders: U.S. Latina Writing İrfan Cenk YAY Öğrenci No: 2502030121 Tez Danışmanı Prof. Dr. Ayşe D. Erbora İstanbul, 2009 Texts on the Borders: U.S. Latina Writing İRFAN CENK YAY ÖZ Bu çalışma Meksika ve diğer Latin Amerika kökenli kadın yazarların, Amerika Birleşik Devletleri sınırları içindeki ötekileştirilmiş özneler olarak içinde bulundukları toplumsal “aradakalmışlık” konumlarını sorgulamak ve aşmak amacıyla yazdıkları yapıtlar üzerine odaklanır. 1970’lerden bu yana varolan “Sınır Yazını” türüne ait olan bu yapıtlar, hem beyaz egemen kültürün ayırımcı politikalarına, hem de kendi erkek merkezli kültürlerine özgü cinsel baskılara karşı bir ifade biçimi olarak ortaya çıkmıştır. Amerika Birleşik Devletleri ve Meksika arasındaki coğrafi ve tarihi sınırın, başka pek çok bilişsel ayrımı simgelediği görüşünden yola çıkan bu kadın yazarlar, sınır ve sınır-ihlali kavramlarını etnisite/“ırk”, sınıf ve cinsiyet konumlarının kesiştiği çok katmanlı bir çelişkiler yumağı olarak ele alırlar. Gloria Anzaldúa’nın bu alandaki kuramsal yazılarının “Sınır Çalışmaları” disiplinine yaptığı katkılar, özellikle yazarın Borderlands/La Frontera: The New Mestiza isimli kitabı, diğer Latin Amerika kökenli kadın yazarlara önemli bir esin kaynağı olmuştur. Bu çalışmada Anzaldúa’nın Borderlands/La Frontera’sının yanı sıra Sandra Cisneros’un The House on Mango Street isimli romanı ve Julia Álvarez’in How the García Girls Lost Their Accents ve ¡Yo! isimli romanları tarihsel ve yazınsal bağlamları içerisinde incelenerek, Latin Amerika kökenli kadın yazarların yaşamda ve yazında sınır ve sınır-ihlali konularına yaklaşımları örneklenecektir. ABSTRACT The present study focuses on the writings of Mexican-American woman writers and other U.S. Latinas who have been struggling to surmount their liminal social positions as otherized subjects within the boundaries of the United States of America. Constituting part of what has become to be known as “Border Writing” since the mid-1970s, their writing emerged as a response to both the discriminatory policies of the Anglo-American establishment and the inherent forms of gender oppression endemic to their own male- centered culture. Taking its cue from the U.S.-Mexican border as a paradigmatic locus of multiple manifestations of conflict, U.S. Latina Border Writing expands the notions of border and border-crossing to encompass a wider spectrum of conflictual sites at the crossroads of ethnicity/“race,” class, gender, and sexuality, etc. Mexican-American women writers and critics, spearheaded by Gloria Anzaldúa, have broadened the scope of the theoretical framework provided by the new discipline of “Border Studies” with their creative-theoretical works concerning discrimination at the levels of race, class, and gender as crisscrossing vectors of subjugation. Inspired by Anzaldúa’s canonical study, Borderlands/La Frontera: The New Mestiza, other Latina writers, including the inter- nationally acclaimed Sandra Cisneros and Julia Álvarez, have contributed to the field with their works of fiction. Aside from Anzaldúa’s Borderlands/La Frontera, in this study three exemplary literary works, Cisneros’ The House on Mango Street and Álvarez’s How the García Girls Lost Their Accents and its sequel, ¡Yo!, are scrutinized within their literary and historical context to illustrate the ways in which U.S. Latina writing negotiates borders and border-crossings as they relate to both life and literature. iii ACKNOWLEDGEMENTS The defects and shortcomings of this project are all mine; but whatever its merits, its indebtedness is a pleasure and a responsibility to enumerate, because in doing so I will ultimately be able to set down here the names of wise and generous friends at the Department of American Culture and Literature, Istanbul University, from whom I have learned much, or should have learned much more… My deepest gratitude is reserved to my chair, thesis advisor and surrogate mother, Prof. Dr. Ayşe Erbora, without whose intellectual and spiritual guidance the present project could not be completed. I am greatly indebted to her support all these years and for showing me by her own example that an academic career and a sanguine life may very well coexist harmoniously. I would also like to verbalize my accolades to another long-time mentor, Assoc. Prof. Dr. Türkân Araz, for our thought-provoking discussions on postcolonial theory and literature. It is impossible to forget her “razor-sharp” editorial eye and the languishing hours we spent in front of her 17-inch monitor to verify each and every word or phrase used in this study. Assoc. Prof. Dr. Özden Sözalan, who has provided me with an exceptionally insightful critical perspective and whose unwinding enthusiasm for literature and the study of literature will be an everlasting inspiration for the studies that I plan to pursue in the future. Thank you so much… A warm personal thank-you is due to Prof. Dr. Bedia Demiriş, an invaluable member of my thesis committees, for her soothing face and her comments on my drafts. I am also indebted to Assist. Prof. Dr. Hasine Şen Karadeniz, Dr. Serpil Tunçer, Burak Erbora, İnci Bilgin Tekin, Tuğba Hacaloğlu, Didem Kizen and Aşkın Çelikkol without whose unwavering support in accumulating books and articles from every accessible source I would have to spend six more years to finish this project. I would also like to thank Assist. Prof. Dr. Özlem Öğüt Yazıcıoğlu for kindly lending me her own This Bridge Called My Back. My personal gratitude is reserved for my colleagues, Assist. Prof. Dr. Nezir Yunusoğlu and Dr. Sinem Yazıcıoğlu, for being very good friends and covering my back, especially, during the toilsome final days of this project. I would also like to thank Dr. Ricardo Campos-Bloss from the neighboring department of Spanish Language and Literature, for accepting me in his Español classes and teaching the basic tenets of the Spanish language. Gültekin Koçer and Cihan Kara from “Gençlik Xerox Center” have always been assistive in the preparation of my books, articles, and course materials. I am indebted to those personal friends of mine. My family, Engin Yay, Melek Yay and Barış Yay, I love you dearly not only for tolerating my selfish absences even in the most dreadful, or happy, days of our lives, but helping me become who I am. Last, but certainly not least, my colleague and my beloved wife, Özge; no words of mine — written or spoken — could express my appreciation of your worth. iv CONTENTS Öz /Abstract .................................................................................................................................................... iii Acknowledgements .................................................................................................................................... iv Contents ............................................................................................................................................................. v Introduction .................................................................................................................................................... 1 1. A Critical and Ideological Overview of Chicano Literature ................................. 15 1.1. Early Chicano Letters: From Oral Resistance to Written Contestation ......................... 17 1.2. The Chicano Movement: Cultural Nationalism, Ideology, and Literature .................. 41 2. Xicanisma: Theorizing Feminism(s) from the Borderlands .................................. 63 2.1. The Birth of Frontera Feminism ................................................................................................... 65 2.2. Gloria Anzaldúa’s Borderlands/La Frontera: The New Mestiza ..................................... 84 3. Writing the Self Beyond the Borders ...................................................................................... 123 3.1. Sandra Cisneros: A Long Way from the Barrio to the “Other Side” ............................. 124 3.2. The House on Mango Street .............................................................................................................. 132 4. Recovering From the Silence of Exile .................................................................................... 176 4.1. Julia Álvarez: Re-membering the Past, Re-membering the Self ...................................... 178 4.2. How the García Girls Lost Their Accents and ¡Yo! ............................................................... 185 Conclusion ........................................................................................................................................................ 227 Bibliography ................................................................................................................................................... 240 Özgeçmiş / Vita ............................................................................................................................................. 257 v In the loving memory of my father, Engin YAY (1950-2004), whose untimely and solitary demise – ¡en exilio en su propio país! – has become an indelible impetus. vi INTRODUCTION Whenever or wherever two or more cultures meet—peacefully or violently— there is a border experience. … Today, if there is a dominant culture, it is border culture. And those who still haven’t crossed a border will do it very soon. All Americans
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