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From Borderlands and New Mestizas to Nepantlas and Nepantleras Anzaldúan Theories for Social Change

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From Borderlands and New Mestizas to Nepantlas and Nepantleras Anzaldúan Theories for Social Change HUMAN ARCHITECTURE: JOURNAL OF THE SOCIOLOGY OF SELF-KNOWLEDGE A Publication of OKCIR: The Omar Khayyam Center for Integrative Research in Utopia, Mysticism, and Science (Utopystics) HUMAN ARCHITECTURE ISSN: 1540-5699. © Copyright by Ahead Publishing House (imprint: Okcir Press). All Rights Reserved. Journal of the Sociology of Self- From Borderlands and New Mestizas to Nepantlas and Nepantleras Anzaldúan Theories for Social Change AnaLouise Keating Texas Woman’s University –––––––––––––––––––––––––––––––––––––– [email protected] Abstract: Perhaps not surprisingly—given the multifaceted nature of Borderlands and the diver- sity of Anzaldúa’s other writings—readers have overlooked additional, equally important dimensions of her work, leaving what Anzaldúa might call “blank spots” that prevent us from grasping the radical nature of her vision for social change and the crucial ways her theories have developed since the 1987 publication of Borderlands. Even as scholars continue exploring Border- lands, it is my hope that we will also investigate and write about Anzaldúa’s pre- and post- Borderlands ideas, especially a variety of interlinked theories she was working on at the time of her death—including, but not limited to: “new tribalism;” “geography of selves;” “el mundo zurdo;” “spiritual activism;” “la naguala, or watcher;” “the Coyolxauhqui imperative;” “the imaginal;” “autohistoria/autohistoria-teoría;” “nos/otras;” “conocimiento;” “nepantla;” and “nepantleras.” These Anzaldúan theories (as well as others) have not yet received the attention they merit. These concepts are crucial for those scholars hoping to understand the development of her thinking and the complexity of her work. More importantly for my argument here, these theories offer very useful tools for social change. In this article, I briefly discuss five of these the- ories: nepantla and nepantleras, nos/otras, conocimiento, and spiritual activism. I am a wind-swayed bridge, a World,’ say my Black and Asian crossroads inhabited by whirl- friends. ‘Your allegiance is to your winds. Gloria, the facilitator, Gloria gender, to women,’ say the femi- the mediator, straddling the walls nists. Then there’s my allegiance to between abysses. ‘Your allegiance the Gay movement, to the socialist is to La Raza, the Chicano move- revolution, to the New Age, to ment,’ say the members of my race. magic and the occult. And there’s ‘Your allegiance is to the Third my affinity to literature, to the AnaLouise Keating is Associate Professor of Women’s Studies at Texas Woman’s University where she teaches courses on U.S. women of colors, feminist epistemologies, feminist theories, and Gloria Anzaldúa. Her most recent book is EntreM- undos/AmongWorlds: New Perspectives on Gloria Anzaldúa. Keating’s publications include this bridge we call home: radical visions for transformation (co-edited with Gloria Anzaldúa) and Women Reading Women Writing: Self-Invention in Paula Gunn Allen, Gloria Anzaldúa, and Audre Lorde. Editor of Anzaldúa’s Interviews/Entrevistas and co-editor of Perspectives: Gender Studies, Keating has published articles on critical “race” theory, queer theory, Latina writers, African-American women writers, and pedagogy. HUMAN ARCHITECTURE: JOURNAL OF THE SOCIOLOGY OF SELF-KNOWLEDGE, IV, SPECIAL ISSUE, SUMMER 2006, 5-16 5 6ANALOUISE KEATING world of the artist. What am I? A inform her theoretical perspectives and third world lesbian feminist with shape her work. Her movements among Marxist and mystic leanings. …Who, worlds influenced the projects she adopted, me confused? Ambivalent? Not so. the theories she invented, her critiques of Only your labels split me. rigid identity categories, and her lifelong —Gloria E. Anzaldúa, “La Prieta” efforts to develop inclusionary transcultur- (her italics) al movements for social justice. Anzaldúa was not naive; she realized how difficult I begin with this quotation, drawn from transformation could be, and she was one of Gloria Anzaldúa’s earliest published aware of the many insidious ways resis- essays, because it so effectively illustrates tance to change can paralyze social actors. Anzaldúa’s personal integrity, inclusionary However, she remained what Chela Sando- politics, and expansive theorizing. The old- val describes as a “resolute theorist of est child of seventh-generation mexicanos hope” (xiii). from the Rio Grande Valley of south Texas, Anzaldúa was a nepantlera—a term Anzaldúa participated in a number of dif- she coined to describe a unique type of vi- ferent worlds: the public, often specialized sionary cultural worker.1 Nepantleras are spaces of academia, art, and publishing; the threshold people: they move within and private spaces of family, spirits, and among multiple, often conflicting, worlds friends; and the political spaces of Chi- and refuse to align themselves exclusively can@s, Latin@s, feminists, U.S. women of with any single individual, group, or belief colors, queers, and other progressive social system. This refusal is not easy; nepantleras actors. Moving among these diverse must be willing to open themselves to per- worlds, Anzaldúa would not be contained sonal risks and potential woundings which within any single group or location. Al- include, but are not limited to, self-division, though each group tried to make member- isolation, misunderstanding, rejection, and ship contingent on its own exclusionary set accusations of disloyalty. Yet the risk-tak- of demands, Anzaldúa refused their rules ing has its own rewards, for nepantleras without rejecting the people or groups use their movements among divergent themselves. At great personal risk, she ex- worlds to develop innovative, potentially posed the limitations in the labels and the transformative perspectives. They respect flaws in the various forms of group-think the differences within and among the di- on which such labels rely. Thus, for exam- verse groups and, simultaneously, posit ple, in the opening epigraph Anzaldúa po- commonalities. As Anzaldúa explains in sitions herself on the thresholds—simulta- “now let us shift…the path of conocimien- neously inside and outside a number of to…inner work, public acts,” nepantleras groups—and uses her threshold perspec- recognize “the deep common ground and tive to challenge the status quo. By so do- interwoven kinship among all things and ing, she replaces restrictive identity politics people” (567-68) and attempt to awaken with a broader call for new forms of com- this recognition in others. By so doing, they munities or what she describes in “La Prie- make possible new forms of community ta” and “now let us shift” as “el mundo and new types of social action. zurdo”—a visionary place where people A versatile author, Anzaldúa published from diverse backgrounds with diverse in a variety of genres: theoretical essays, needs and concerns co-exist and work to- poetry, short stories, autobiographical nar- gether to bring about revolutionary change. ratives, interviews, children’s books, and Anzaldúa’s experiences moving with- multigenre edited and co-edited collec- in, between, and among multiple worlds tions. (See the appendix at the end of this HUMAN ARCHITECTURE: JOURNAL OF THE SOCIOLOGY OF SELF-KNOWLEDGE, IV, SPECIAL ISSUE, SUMMER 2006 FROM BORDERLANDS AND NEW MESTIZAS TO NEPANTLAS AND NEPANTLERAS: 7 article for a list of her publications.) As one cited, has challenged and expanded previ- of the first openly lesbian Chicana writers, ous views in many academic disciplines, Anzaldúa played a major role in defining ranging from American studies to queer Chicana/o, queer, and female identities. theory.4 As Sonia Saldívar-Hull notes, Bor- And as editor or co-editor of three multicul- derlands is “[a] transfrontera, transdisci- tural, multigenre feminist anthologies, she plinary text [which has] “traveled be- played an equally crucial role in develop- tween” many disciplines (12-13). Scholars ing inclusionary movements for social jus- have used Anzaldúa’s theories of the “new tice. Although she worked outside the uni- mestiza,” the “Borderlands,” and “mestiza versity system (except for selective teach- consciousness” to critique and revise their ing engagements and conference “speaking disciplinary paradigms and contemporary gigs”), her impact on many academic disci- identity-based issues. plines—including (but not limited to) But perhaps not surprisingly—given American studies, Chicana/o studies, com- the multifaceted nature of Borderlands and position studies, cultural studies, ethnic the diversity of Anzaldúa’s other writ- studies, feminism/feminist theory, literary ings—readers have overlooked additional, studies, queer theory, and women’s stud- equally important dimensions of her work, ies—has been immense. Her words speak leaving what Anzaldúa might call “blank to many people on a variety of levels. Her spots” that prevent us from grasping the writings have been included in over 100 an- radical nature of her vision for social thologies to date2—and I predict that this change and the crucial ways her theories number will grow much larger during the have developed since the 1987 publication twenty-first century. of Borderlands.5 As Anzaldúa points out in The Third Annual Social Theory Fo- an interview, Borderlands is not a self-en- rum, “Human Rights, Borderlands, and the closed entity but rather part of a larger, life- Poetics of Applied Social Theory: Engaging long project: “[It’s] just one project of this with Gloria Anzaldúa in Self and Global overall umbrella project that is my life’s Transformations,” represents
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