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BORDERLANDS - LA FRONTERA: THE NEW

MESTIZA (ENGLISH AND SPANISH

EDITION) BY GLORIA ANZALDUA

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BORDERLANDS - LA FRONTERA: THE NEW MESTIZA

(ENGLISH AND SPANISH EDITION) BY GLORIA ANZALDUA

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From Publishers Weekly

Anzaldua is a self-proclaimed borderland beinga Chicana who lives close to the border between Mexico and Texas, who shares several cultures and uses a mixture of languages. With exceptional insight, she creates a mosaic of the marginal person: a person, like herself, who exists in a state of transition, of ambivalence, of conflict; someone who is infused with many cultures yet cannot claim a single one wholly for herself. Her journal is written in earth tones, like an Aztec design, tones that are both engaging and striking. Weaving prose with poetry, Mexican-Indian history with psychology, mythology with philosophy, the author pulls together the frazzled edges of Chicano culture and of her sense of self. Anzaldua is a rebellious and willful talent who recognizes that life on the border"life in the shadows"is vital territory for both literature and civilization.

Copyright 1987 Reed Business Information, Inc.

From Library Journal

Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues. Andrea Caron Kempf, Johnson Cty. Community Coll. Lib., Overland Park, Kan.

Copyright 1987 Reed Business Information, Inc.

Review

Antigua, Mi Diosa

(4)

Cervicide

Cihuatlyotl, Woman Alone Companera, Cuando Amabamos Corner Of 50th St, And Fifth Ave Creature Of Darkness

Cultures Cuyamaca

Don't Give In, Chicanita El Sonavabitche

En El Nombre De Todas Las Madres Que Han Perdido En Mi Corazon Se Incuba

Holy Relics Horse

I Had To Go Down

Immaculate, Inviolate: Como Ella Interface

La Curandera Letting Go Mar De Repollos Martiz Sin Tumba O Mujer Cacto

My Black Angelos No Se Raje, Chicanita Nopalitos

Poets Have Strange Eating Habits A Sea Of Cabbages

Sobre Piedras Con Lagartijos Sus Plumas El Viento That Dark Shining Thing

To Live In The Borderlands Means You We Call Them Greasers

White-wing Season Yo No Fui, Fue Tete

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BORDERLANDS - LA FRONTERA: THE NEW MESTIZA

(ENGLISH AND SPANISH EDITION) BY GLORIA ANZALDUA

PDF

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BORDERLANDS - LA FRONTERA: THE NEW MESTIZA

(ENGLISH AND SPANISH EDITION) BY GLORIA ANZALDUA

PDF

autobiography, bilingual Spanish/English

Sales Rank: #968600 in Books

Brand: Brand: Aunt Lute Books

Published on: 1987-08

Original language: English, Spanish

Number of items: 1

Binding: Paperback

190 pages

Features

Used Book in Good Condition

From Publishers Weekly

Anzaldua is a self-proclaimed borderland beinga Chicana who lives close to the border between Mexico and Texas, who shares several cultures and uses a mixture of languages. With exceptional insight, she creates a mosaic of the marginal person: a person, like herself, who exists in a state of transition, of ambivalence, of conflict; someone who is infused with many cultures yet cannot claim a single one wholly for herself. Her journal is written in earth tones, like an Aztec design, tones that are both engaging and striking. Weaving prose with poetry, Mexican-Indian history with psychology, mythology with philosophy, the author pulls together the frazzled edges of Chicano culture and of her sense of self. Anzaldua is a rebellious and willful talent who recognizes that life on the border"life in the shadows"is vital territory for both literature and civilization.

Copyright 1987 Reed Business Information, Inc.

From Library Journal

Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues. Andrea Caron Kempf, Johnson Cty. Community Coll. Lib., Overland Park, Kan.

Copyright 1987 Reed Business Information, Inc.

Review

Antigua, Mi Diosa

(7)

Cancion De La Diosa De La Noche The Cannibal's Cancion

Cervicide

Cihuatlyotl, Woman Alone Companera, Cuando Amabamos Corner Of 50th St, And Fifth Ave Creature Of Darkness

Cultures Cuyamaca

Don't Give In, Chicanita El Sonavabitche

En El Nombre De Todas Las Madres Que Han Perdido En Mi Corazon Se Incuba

Holy Relics Horse

I Had To Go Down

Immaculate, Inviolate: Como Ella Interface

La Curandera Letting Go Mar De Repollos Martiz Sin Tumba O Mujer Cacto

My Black Angelos No Se Raje, Chicanita Nopalitos

Poets Have Strange Eating Habits A Sea Of Cabbages

Sobre Piedras Con Lagartijos Sus Plumas El Viento That Dark Shining Thing

To Live In The Borderlands Means You We Call Them Greasers

White-wing Season Yo No Fui, Fue Tete

-- Table of Poems from Poem Finder®

Most helpful customer reviews

0 of 0 people found the following review helpful.

A WONDERFUL ASSORTMENT OF ANZALDUÁ’S PROSE AND POETRY By Steven H Propp

Gloria Anzaldúa (1942-2004) also wrote/edited This Bridge Called My Back: Writings by Radical Women of Color, This Bridge We Call Home: Radical Visions for Transformation, Interviews/Entrevistas, Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color, The Reader, etc.

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where under, lower, middle and upper classes touch, where the space between two individuals shrinks with intimacy. I am a border woman. I grew up between two cultures, the Mexican (with a heavy Indian influence) and the Anglo (as a member of a colonized people in our own territory). I have been straddling that… border, and others, all my life. It’s not a comfortable territory to live in, this place of contradictions. Hatred, anger, and exploitation are the prominent features of this landscape…

“This book, then, speaks of my existence. My preoccupations with the inner life of the Self, and with the struggle of the Self amidst adversity and violation; with the confluence of primordial images; with the unique positionings consciousness takes at these confluent streams, and with my almost instinctive urge to communicate, to speak, to write about life on the borders, life in the shadows. Books saved my sanity, knowledge opened the locked places in me and taught me how to survive and then how to soar… and words, my passion for the daily struggle to render them concrete in the world and on paper, to render them flesh, keeps me alive. The switching of ‘codes’ in this book from English to Castillian Spanish to the North Mexican dialect to Tex-Mex to a sprinkling of Nahuatl to a mixture of all of these, reflects my language, a new language---the language of the Borderlands. There, at the juncture of cultures, languages cross-pollinate and are revitalized; they die and are born.”

She observes, “Culture forms our beliefs. We perceive the version of reality that it communicates. Dominant paradigms, predefined concepts that exist as unquestionable, unchallengeable, are transmitted to us through the culture. Culture is made by those in power---men. Males make the rules and laws; women transmit them… The culture expects women to show greater acceptance of, and commitment to, the value system than men. The culture and the Church insist that women are subservient to males… For a woman of my culture there used to be only three directions she could turn: to the Church as a nun, to the streets as a prostitute, or to the home as a mother. Today some of us have a fourth choice: entering the world by way of education and career and becoming self-autonomous persons. A very few of us.” (Pg. 16-17)

She suggests, “Today, la Virgen de Guadalupe is the single most potent religious, political and cultural image of the Chicanlo/mexicano. She, like my race, is a synthesis of the old world and the new, of the religion and culture of the two races in our psyche, the conquerors and the conquered. She is the symbol of the mestizo true to his or her Indian values… Because Guadalupe took upon herself the psychological and physical devastation of the conquered and oppressed indio, she is our spiritual, political and psychological symbol… Guadalupe unites people of different races, religions, languages: Chicano Protestants, American Indians and whites…” (Pg. 30)

She explains, “So, if you really want to hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity---I am my language. Until I can take pride in my language, I cannot take pride in myself. Until I can accept as legitimate Chicano Texas Spanish, Tex-Mes and all the other languages I speak, I cannot accept the legitimacy of myself. Until I am free to write bilingually and to switch codes without having always to translate while I still have to speak English or Spanish when I would rather speak Spanglish, and as long as I have to accommodate the English speakers rather than having them accommodate me, my tongue will be illegitimate. I will no longer be made to feel ashamed of existing. I will have my voice; Indian, Spanish, white. I will have my serpent’s tongue---my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.” (Pg. 59)

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piercing tongue or ear lobes with cactus needle, are my offerings, are my Aztecan blood sacrifices.” (Pg. 75)

This book contains some of Anzaldúa’s most pointed and passionate writing. It will be great interest to those who already love her writings, or as an excellent introduction to her for those who don’t.

0 of 0 people found the following review helpful.

A must-read for specialists in Spanish and Latin American Studies By Dr. Christopher M. Minio

This is a must-read for students of and experts in Spanish and Latin American Studies. I used it as a primary source in my doctoral dissertation in the field.

0 of 0 people found the following review helpful. love

By Elise

surprise autograph by the author! love it

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BORDERLANDS - LA FRONTERA: THE NEW MESTIZA

(ENGLISH AND SPANISH EDITION) BY GLORIA ANZALDUA

PDF

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From Publishers Weekly

Anzaldua is a self-proclaimed borderland beinga Chicana who lives close to the border between Mexico and Texas, who shares several cultures and uses a mixture of languages. With exceptional insight, she creates a mosaic of the marginal person: a person, like herself, who exists in a state of transition, of ambivalence, of conflict; someone who is infused with many cultures yet cannot claim a single one wholly for herself. Her journal is written in earth tones, like an Aztec design, tones that are both engaging and striking. Weaving prose with poetry, Mexican-Indian history with psychology, mythology with philosophy, the author pulls together the frazzled edges of Chicano culture and of her sense of self. Anzaldua is a rebellious and willful talent who recognizes that life on the border"life in the shadows"is vital territory for both literature and civilization.

Copyright 1987 Reed Business Information, Inc.

From Library Journal

Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues. Andrea Caron Kempf, Johnson Cty. Community Coll. Lib., Overland Park, Kan.

Copyright 1987 Reed Business Information, Inc.

Review

Antigua, Mi Diosa

Cagado Abismo, Quiero Saber Cancion De La Diosa De La Noche The Cannibal's Cancion

Cervicide

(11)

Creature Of Darkness Cultures

Cuyamaca

Don't Give In, Chicanita El Sonavabitche

En El Nombre De Todas Las Madres Que Han Perdido En Mi Corazon Se Incuba

Holy Relics Horse

I Had To Go Down

Immaculate, Inviolate: Como Ella Interface

La Curandera Letting Go Mar De Repollos Martiz Sin Tumba O Mujer Cacto

My Black Angelos No Se Raje, Chicanita Nopalitos

Poets Have Strange Eating Habits A Sea Of Cabbages

Sobre Piedras Con Lagartijos Sus Plumas El Viento That Dark Shining Thing

To Live In The Borderlands Means You We Call Them Greasers

White-wing Season Yo No Fui, Fue Tete

-- Table of Poems from Poem Finder®

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