Gloria Anzaldúa was an incredibly influential feminist, queer theorist, and scholar whose compilation of feminist works by radical women of color, This Bridge Called my Back, includes her critically acclaimed essay “La Prieta,” which chronicles Anzaldúa’s journey of coming to terms with her multiple identities. In this particular piece, Anzaldúa writes a pivotal statement: “I am a wind-swayed bridge, a crossroads inhabited by whirlwinds." (205) This metaphor implies how Anzaldúa feels as if she is stuck in a space in-between identities, and instead of fitting into society’s distinct boxes, she lies somewhere in the middle. The central theme of this essay is the idea of how one can navigate their life under the guise of multiple identities. Gloria Anzaldua explores this theme by recounting her own life …show more content…
For instance, Anzaldúa recalls a time in which two men yelled homophobic slurs at her brother and his partner on their first anniversary, to which she replies, “and they had to be Latinos.” (206) This is a prime example of two of Anzaldúa’s identities – her Latino and queer identities – at a clear collision. She wants to be able to support her fellow Latinos, however, when it is them who are threatening her queer identity, she feels ashamed and confused. However, she comes to terms with her conflicting identities by comparing herself to a “spider woman” with “one foot on brown soil, one on white, one in straight society, one in the gay world, the man’s world, the women’s, one limb I the literary world, another in the working class, the socialist, and the occult worlds.” (206) Through this way of viewing herself, it can be clearly seen that Gloria Anzaldúa has multiple moving parts that make up her identity, and each part is just as important as the
When her sisters go and visit her, the girls think that she looks like “the after person in one of those before-after makeovers in magazines” (117). Sofia essentially changed everything about her after just a few months in the Dominican Republic. She goes from someone that smokes weed and has wild stories about boys to a girl who is in touch with her Dominican roots. However, in Sofia’s case, parts of her identity are rooted in her innate characteristics. Even though some things have changed about her, there are still things that are the same about her.
They way a person reads is greatly influenced by their personal background; their story, their culture, anything that led them to who they are today. When reading How the Garcia Girls Lost Their Accents written by Dominican-American Julia Alvarez, many controversial points are brought up that can be interpreted in many different ways depending on who is reading. In many scenarios, it’s the matter of where the reader comes from, in this case the Dominican Republic, or the United States. By having written from both Dominican and American perspectives, Alvarez teaches how a character’s sexuality or sexual tendencies can be perceived differently depending on the reader's personal background.
Unlike the white women in the previous section, these women don’t make any political gains or receive media coverage. Their work is not able to stop the Freeways from intersecting their communities. Instead, they allowed to create murals on the sides of the Freeway and under bridges. They try to repurpose these spaces and make them into a form of resistance against the oppressive nature of these new roads. These women use their culture and voices to “bring life, even to the deadening spaces created by men.”
She perpetually swaps these identities, plucking the one she wants as if it is clothing on a rack and she is dressing for the occasion. Her life is a haphazard collage of selves, or “masks”: a web of lies and truths.
Carmen Colón Pellot and Julia de Burgos were authors that challenge societal norms as women in the white male Hispanic Society era. At the time there were confinements placed upon blacks, which was why they both found it difficult to reunite with their heritage as mulata’s. Their gender was problematic in the white male society as well. The poems “Oh Lord, I Want to be White" by Carmen Colón Pellot and "Cry of the Kinky Haired Girl" by Julia de Burgos has made a significant impact on the “mulata” as a subject and not just a sexual object in the 20th century during the Negrista movement. First let’s look into the background of Carmen Colón Pellot born in Arecibo, Puerto Rico in 1911.
Throughout “The Mexican in Fact, Fiction, and Folkore” examines the term “Mexican” as it is applied in Southwest literature and argues the Anglo society has made a conscious effort to misrepresent Mexicans (Rios 60). He states the people of Mexican descent are viewed as un-American because they are perceived as filthy, lazy, and dumb. Ricatelli adds to the conversation of Mexican stereotypes by examining the literary expressions of Chicanas and Mexicanas in the literature of both the United States and Mexico. In “The Sexual Stereotypes of The Chicana in Literature” Ricatelli explains how in Yankee literature, the Chicana is referred to as the “fat breeder, who is a baby factory” meanwhile the Mexican is described as an “amoral, lusty hot tamale” (Ricatelli 51). He makes note of these stereotypes in order to highlight the ethnocentric and nativist points of view that dominated Anglo literature.
On a July afternoon in 1714, the Bridge of San Luis Rey snapped, throwing five travelers into the gulf below. A priest named Brother Juniper, who witnesses the disaster, seeks to understand why it happened to those five. He looks to understand the divine plan and connection behind the people who died on the bridge. Often we seek, as humans, to answer the deepest and most emotional questions that we are provided with or think of. Sometimes, these questions can’t be answered, because the principles in question are too deep, complex, emotional, or sacred to be explained.
The Myth of the Latin Woman: I Just Met a Girl Named María is an essay by Judith Ortiz Cofer that addresses the impact of stereotyping on Latino women. Throughout the essay, Cofer relates her personal experiences with stereotypes to discuss how they have negatively affected her life and the lives of other Latinas. She also explains how these stereotypes originated and calls on her audience, the majority-white non-Latino population, to stop propagating the stereotypical portrayals of Latino women. In The Myth of the Latin Woman, Cofer speaks out about how stereotyping hinders the process of assimilating to a new culture by appealing to ethos through her personal experiences, using similes that show how stereotypes create isolation, and adopting
Through Antonio and Ultima, readers identify the creation of a culture that has been forge by war, discrimination, and common hardships. With Ultima being a powerful curandera, the story shows the importance of the female character within Mexican culture. Today, this is prevalent in many Mexican-American households, as the elderly women are held in the highest respect. Another aspect of Mexican-American Culture is masculinity, which is shown in Bless Me, Ultima when Antonio’s father says, “a man of the llano does not run from a fight” (Anaya, 1999, p.37). There are countless examples of Mexican-American masculinity in this novel, like when it mentions that Gabriel’s two eldest sons are fighting in WWII.
Anzaldúa was a Mexican American who was a well-known writer and had a major impact on the fields of queer, feminist, and cultural theory. Her most famous work is Borderlands/La Frontera: The New Mestiza which includes poems, essays, and short stories. Anzaldúa was no stranger to the use of literary theories in her writing, which is evident in her short story “How to Tame a Wild Tongue.” Here, the author uses a combination of feminist, reader-response, and psychoanalytic theory to show the struggle of being oneself when they’re Mexican-American. Through the use of feminist theory, she explains how a female is labeled as an “habladora” when she tries to voice out her opinion about something; reader-response theory provides the reader with an understanding of the struggles of self-identity, which they are able to relate to, especially Mexican-Americans; and lastly, psychoanalytic theory illuminates on her childhood experiences, which could explain why Anzaldúa believes in what she does, such as the idea that Anglo people have tried to tame her tongue—in other words, her language.
Cofer addresses the cultural barriers and challenges that Latinos experience through emotional appeal, anecdotal imagery, parallelism and the use of effective periodic sentences. In her article, Cofer assesses the difficult cultural hurdles of Latin Americans with emotional appeal. She provides insight on her cultural barriers by first conveying the way she had to dress and her struggle, as it shows in this piece of text, “That morning I had organized… which to base my decision” (Cofer 5). This poignancy works to stress an agonizing feeling of uncertainty and restraint towards the author.
Gloria Anzaldúa’s “La Prieta” tell her struggles with identity by talking about prejudices she dealt with while growing up. These prejudices, such as colorism, sexism, and heteronormativity, were not only held by people outside her social groups but within them as well. Anzaldúa goes on to explain the way identity is formed by intersecting factors and not only one aspect of someone’s life therefore denying one factor of identity can cause isolation and self-hatred. The fact that Anzaldúa developed faster than is deemed normal the first struggle in forming her identity.
Gloria Steinem: Female Activist Gloria Steinem rose to national fame as a feminist leader in the late 1960’s and early 1970’s for her work as a journalist, activist and political organizer. Her tireless efforts to lobby for social and economic equality allowed Gloria to emerge as an enduring symbol of female liberation. She advocates for intersectional feminism which examines the intersections where forms of oppression overlap and looks at the institutions and conditions hindering women from advancing as a whole. Gloria adapts her approach to issues as the social and political landscape transforms and she continues to promote an intersectional feminist agenda in a paradoxical world where many changes have occurred, but many issues remain.
Her personal experience is socially and theoretically constructed and emotions play an essential role in the process of identity formation. Her identity is not fixed, which is portrayed by inquisitiveness that her own mother and Aunt thought she was possessed, enhanced and made this story an enriching experience. The family is the first agent of socialization, as the story illustrates, even the most basic of human activities are learned and through socialization people
In the poem “To live in the Borderlands means you”, the borderlands become a place of change, such as changing from just one culture or race into a diverse culture or race and not-belonging. (Singh, A., & Schmidt, P. 2000). The poem describes how the author’s own background ethnicity people, mixicanas, identifies people like her, chicanas, as “split or mixture that means to betray your word and they deny “Anlo inside you.” (Anzaldua, F. 1987). The poem describes that the borderland is a place of contradiction, such as of home not being a home.