By Ana Louise Keating
EntreMundos deals a multidisciplinary research of the suggestions, effect, and writings of latest cultural theorist and inventive author, Gloria Anzaldua. Her paintings, that's usually anthologized and sometimes brought up, in addition to largely taught on the highschool, undergraduate, and graduate point, has challenged and improved earlier perspectives in American stories, Chicano/a reviews, composition reports, cultural reviews, ethnic stories, feminism, literary reviews, severe pedagogy, and queer concept. right here students from a few disciplines assemble to mirror significantly and anecdotally on Anzaldua's writing, her rules, and the broader importance of her paintings. Highlighting a few of Anzaldúa's lesser explored theories, EntreMundos demanding situations readers to reconsider Anzaldúa's writings and theorizing from extra views. The objective is to develop Anzaldúan scholarship, moving the dialog in new instructions whereas underscoring the visionary but pragmatic social-justice dimensions of her paintings.
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Additional resources for Entre Mundos / Among Worlds: New Perspectives on Gloria Anzaldua
Example text
We know of her battles and her battlefields. ” Gloria, you like us, us like you: Sí, somos hijas de la chingada. We are from here, we are from there. We belong to no one. We choose to claim the here and there, este y el otro lado: no one’s land, la tierra de nadie. Not you sold out your people Gloria but they sold you. Is that why me and Juárez are not well at ease with each other anymore? Is that why I invoke you Gloria? Because there is something in frontera’s abandonment that I fear. Something about our nadieness that’s threatening.
Part 1 autohistoria y autohistoria-teoría. . (re)writing self, (re)writing culture Like an aching tooth, you suck on the problem of how to embody the story. Which genre—memoir, personal essay, or a combination? Memoir is a difficult genre. It’s harder to manipulate the raw material of your own life than it is the details of an invented story. The problem is how to distinguish between you, the actual writer, and you, the narrative persona. The problem is how to improvise the self you create as you compose, and how to make that self immediate and alive without falling into self-indulgence, sentimentality, or grandstanding.
Frontera is getting back at us and I no longer know how to be with Juárez. It’s become such a stranger. Its houses are so empty that it depresses me to walk its streets. That’s why we’ve abandoned it. Se esta llenando de polvo. And that dust is blurring my sight. We no longer own it. We no longer claim it. Haz vuelto a ser tierra de nadie. I know you picked up and left Gloria. I did the same too. But you are a turtle, wherever you go you carry “home” on your back. Is that what I need to do too?