"In This Bridge Called My Back, Gloria Anzaldúa wrote: "A woman who writes has power. A woman who writes is feared. In the eyes of the world this makes us dangerous beasts." Her statement marked a moment of collective self-recognition. Radical...
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"In This Bridge Called My Back, Gloria Anzaldúa wrote: "A woman who writes has power. A woman who writes is feared. In the eyes of the world this makes us dangerous beasts." Her statement marked a moment of collective self-recognition. Radical Chicana Poetics considers this moment as a point of entry into Chicana writings. Offering a transdisciplinary analysis of works by Anzaldúa, Cherríe Moraga, Ana Castillo, Emma Pérez, Alicia Gaspar de Alba, and Sandra Cisneros, this book explores how radical Chicanas deal with tensions that arise from their focus on the body, desire, and writing. Delving into the subtle differences between the authors, Ricardo F. Vivancos Pérez sheds new light on contemporary cultural production and feminist activism, and reflects upon positionality and ethics in Chicana and Latina scholarship."--Publisher website
List of illustrations -- Acknowledgements -- Disclaimer, Captatio malevolentiae, or are nos/otros ready to move on? -- A note about language, terminology, and structure -- Introduction -- Fearing the "dangerous beasts" : radical -- Chicana poetics -- Part I. Dangerous bodies/texts -- Gloria Anzaldúa's poetics : the process of writing Borderlands/La frontera -- Cherríe Moraga's "theory-in-the-flesh" and the Chicana subject -- Part II. (Re)Positionings -- The nomadic Chicana writer in Ana Castillo and Emma Pérez -- Alicia Gaspar de Alba's Sor Juana as symbolic foremother -- Part III. Global interventions -- Weaving texts and selves in Sandra Cisneros's Caramelo -- The Juárez murders, Chicana poetics, and human rights discourse -- Epilogue : The Coyolxauhqui imperative and the critic -- Notes -- Bibliography -- Index.
