By Alvina Quintana
Chicana writers within the usa write to encourage social swap, to problem a patriarchal and homophobic tradition, to redefine conventional gender roles, and to persuade the long run. Alvina E. Quintana examines how Chicana writers interact literary conference via fiction, poetry, drama, and autobiography as a method of addressing those explanations. Her research of the writings of Gloria Anzaldua, Ana Castillo, Denise Chavez, Sandra Cisneros, and Cherrie Moraga addresses a mess of concerns: the social and political forces that motivated the Chicana aesthetic; Chicana efforts to open a discussion in regards to the hassle of either Anglo-American feminism and Chicano nationalism; experimentations with content material and shape; the connection among resourceful writing and self-reflexive ethnography; and function, domesticity, and sexuality. making use of anthropological, feminist, ancient, and literary assets, Quintana explores the continuity stumbled on between Chicanas' writing throughout diversified genres - a force to put in writing themselves into being. Alvina E. Quintana is affiliate Professor of English on the college of Delaware.
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Extra resources for Home Girls: Chicana Literary Voices
This attitude is expressed in Lorna Dee Cervantes' poem "Refugee Ship": Like wet cornstarch, I slide past my grandmother's eyes. Bible at her side, she removes her glasses. The pudding thickens. Mama raised me without language. I'm orphaned from my Spanish name. The words are foreign, stumbling on my tongue. I see in the mirror my reflection: bronzed skin, black hair. I feel I am a captive aboard the refugee ship. The ship that will never dock. El barco que nunca atraca. 18 Cervantes describes the alienation process, which begins with feelings of isolation or orphanhood from a name, creeps in through the cracks of the bicultural experience, and ultimately robs many Chicanas of a crucial part of their identity, reducing their language to foreign words that stumble on the tongue.
Chicano/as have inherited a Mexican history of colonialism and imperialism that subjects them to conquest, marginalization, and domination within their native (southwestern) territories. S. cultural establishments epitomizes the carrying forward and across the border of the unresolved conflicts resulting from the invasion and colonization of Mexico. On the positive side, this political dilemma has inspired myriad mediations that contribute to a rich assortment of cultural interpretations. "6 Although many critics regard Chicano literature as an inclusive or, for that matter, homogeneous category of protest and resistance, this study shifts away from the tendency to emphasize a "generic masculine" sensibility to a focus exclusively on Chicana (women's) writing.
In the literature of struggle and identification writers are not preoccupied with the definition by negation of the literature of apology or the definition by reversal of the literature of opposition. Taking to heart the implications of Marxist theory, this mode of the literature brings women to the forefront as productive, selfsufficient, and complex human beings in their own right. Gina Valdes's There Are No Madmen Here, a wonderful example, recounts the life of Maria Portillo, a stereotypical Mexican woman exploited by her husband, lonely, insecure, and frustrated in her traditional role of wife and mother.