Anzaldúa’s Genre Borderlands
Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative essay, and poetry. What is unique to Anzaldúa is her ability to weave a ‘perfect’ kind of compromised state of mind that melds together the preexisting cultures while simultaneously formulating a fusion of genres that stretches previously constructed borders, proving both problematic and a step in the right extremely ideal direction.
Geography is the start of the novel and of the division of culture. There is hatred and derision linked heavily to the divide. This she tells primarily in historical formats, which she then intersperses with poetry. This makes the historical/ political pers...
Islas, Arturo. From Migrant Souls. American Mosaic: Multicultural Readings in Context. Eds. Gabriele Rico, Barbara Roche and Sandra Mano. Boston: Houghton Mifflin Co. 1995. 483-491.
Norma Elia Cantu’s novel “Canícula: Imágenes de una Niñez Fronteriza” (“Canícula: Snapshots of a Girlhood en la Frontera”), which chronicles of the forthcoming of age of a chicana on the U.S.- Mexico border in the town of Laredo and Nuevo Laredo in the 1940s-60s. Norma Elia Cantú brings together narrative and the images from the family album to tell the story of her family. It blends authentic snapshots with recreated memoirs from 1880 to 1950 in the town between Monterrey, Mexico, and San Antonio, Texas. Narratives present ethnographic information concerning the nationally distributed mass media in the border region. Also they study controversial discourse that challenges the manner in which the border and its populations have been portrayed in the U.S. and Mexico. The canícula in the title symbolizes “The dog days of 1993,” an intense part of summer when the cotton is harvested in South Texas. The canícula also represents summer and fall; also important seasons and concepts of that bridge between child and adulthood. She describes imaginative autobioethnography life growing up on ...
In Borderlands, the realities of what happens by the border instill the true terror that people face every day. They are unable to escape and trapped in a tragic situation. After reading my three classmates’ papers, I was able to learn a lot more about this piece than I originally encountered just on my own. I was able to read this piece in a completely new light and expand on ideas that I did not even think of.
The author is graphic in his detail of the people and the places of importance during this time in history. The book is written more from a Northern point of view and so I didn’t get quite the same perspective of the Southern side but still learned more than I knew before.
Erika Lopez’s Flaming Iguanas addresses various constitutions of American identity, including ethnicity, gender, and sexuality. The protagonist, Jolene, is illustrative of how these constitutions of identity are complicated as she travels west. In particular, traveling westward typically consists of white men who reject the constraints of middle class life and decide to get on the road in hopes of finding selfhood. Flaming Iguanas demonstrates that gender, class, and ethnicity tie into the ability or inability to finding one’s self of self. Therefore, Jolene is unable to find her true sense of self because she is a woman. Lopez directs her readers’ attention to situations in her protagonist’s life where her mixed ethnicity, and ambivalent
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
...brief portion of the feelings that accompanied the loss of land for California, New Mexico and Texas. As shown some were passive while others were aggressive. All felt and dealt with similar yet different experiences once America took over half of Mexico’s territory in 1848, after twenty-one months of war between the two nations (Padilla, 14). Whether one was accommodating or resistant to Americans in Mexico’s prior lands, the Mexicanos and Tejanos all felt uprooted, scared and unsure of what the future would hold for them. But one commonality that Juan Bautista Vigil y Alarid, Cleofas M. Jaramillo, Mariano Guadalupe Vallejo, Eulalia Perez de Guillen Marine and Juan Nepumuceno Sequin all shared was that they told their stories and because of that the world will forever have the accounts of these people and their heritages told through their own histories.
Monroy, Douglas. Thrown Among Strangers: The Making of Mexican Culture in Frontier California . 1990.
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
Anzaldua grew up in the United States but spoke mostly Spanish, however, her essay discusses how the elements of language began to define her identity and culture. She was living in an English speaking environment, but was not White. She describes the difficulty of straddling the delicate changing language of Chicano Spanish. Chicano Spanish can even differ from state to state; these variations as well as and the whole Chicano language, is considered a lesser form of Spanish, which is where Anzaldua has a problem. The language a person speaks is a part...
Sandra Cisneros’s “Never Marry a Mexican” introduces readers to Clemencia. Cisneros eludes Clemencia as a woman who appears proud of her Mexican heritage, yet knows not how the slanderous phrase “Never marry a Mexican” uttered from her well-meaning mother’s trusty lips about Clemencia’s own Mexican father negatively foreshadows her seedy life and gloomy world perspective later down her destructive journey of adulthood.
Also, Bandura focused on self-efficacy. Self-efficacy means that the individual will feel as if they are worthy of the best (Schultz & Schultz, 2013). “People low in self-efficacy feel helpless, unable to exercise control over life events” (Schultz & Schultz, 2013, p. 338). Although Antwone joined the navy, he was still haunted by his past. His models taught him to not enjoy being intimate with anothe...
Writing in the 20th century was great deal harder for a Chicano then it was for a typical American at this time. Although that did not stop this author, Sandra Cisneros. One of her famous novels, Woman Hollering Creek was a prime example of how a combined culture: Mexican-Americans, could show their pride and identity in this century. In conjunction, gave the opportunity for women to speak their voice and forever change the culture of Latino/a markets. Not only did it express identity/gender roles of women and relationships, but using these relationships to combine the cultures of Mexican and American into a hybrid breed. This novel, should have been a view-point for the future to show that there is more to life than just gender and race. Concluding this, the articles that helps define this is “The Latino/a Canon and the Emergence of Post-Sixties Literature” and “What is called Heaven”.
Antwone Fisher was an individual that endured so many things. He faced a lot of challenges that may have seemed impossible to recover from. This story was an example of the many things that some children may experience. Antwone was not raised in an upper crust home. He did not grow up in a home in which his mother and father was present. Instead of having positive role models, he had to live with individuals that were abusive to him. When observing Antwone’s personality, one may refer to two different theorists such as Bandura and Rogers.
The Inferno written by Dante Alighieri is an epic about his journey through Hell. In Dante’s representation of Hell contains nine circles containing different sins each with a more severe punishment than the last. In these increasingly terrifying scenarios, he encounters many ironic punishments and often has discussions with a person amidst the torment. Dante is accompanied by a guide (Virgil) who acts as the mentor. The two travel through hell in hopes of reaching Heaven. While Dante walks as a bystander in the terrors of hell, he begins to commit sins himself, although towards the sinners which he encounters he still is admitted into heaven. While Dante occasionally sins throughout his journey, he usually meets the sinners with compassion and pity, but Virgil meets them with the opposite and views them in disgust. While they may treat them any way they want, the one which causes them the most torment is God, which Dante himself views cruel at times.These incongruities and travesties, bring the morality of the Catholic system of condemnation into question.