By Damián Baca (auth.)
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Sample text
7 This trap or double bind that Anzaldúa refers to is one that critics often duplicate when analyzing the work of nonwhite, “non-Western” intellectuals. For writers of color, Anzaldúa suggests, the double bind is framed by a recurring reaction against dominant narratives, which, by its very repetition, might be interpreted as a reinstatement and affirmation of the dominant as center. In an interview at the end of Borderlands/La Frontera, Anzaldúa suggests that white middle-class educators fetishize this double bind and often overlook how mestiza consciousness can strategically revise and move beyond white/nonwhite hierarchical dichotomies of subjectivity.
Chapter 6 of Borderlands, for example, is titled “Tlilli, Tlapalli: The Path of the Red and Black Ink,” which directly appeals to both Mesoamerican and colonial histories of writing and rhetoric in the borderlands. One 26 Mestiz@ Scripts of the earliest known expressions for writing in America, Tlilli Tlapalli literally means “the black [ink], the red [ink]” and directly references the formal transmission of knowledge at the Calmecac, a highly structured Mesoamerican conservatory and ceremonial center.
Mestiza consciousness is a distinct enunciation, grounded in the lived experiences of the peripheral colonial world that expresses new potentials that surpass the hierarchical logic of assimilation. The New Consciousness/Ancient Myths 31 intellectual province of the borderlands contributes a thorough knowledge of critical moments of colonization and capitalist global expansion. Mestiz@ rhetorics, beginning with the brutal encounter between disparate worlds, invoke the idea of temporal simultaneity in which it becomes possible to envision multiple histories and memories coexisting, without assertions that all cultures across the Americas and the globe follow along the same hierarchical axis of development.