Summary and Keywords
The work of writer, historian, and theorist Emma Pérez encompasses a broad intersectional approach to the study of Chicanas. Her life’s work crosses disciplinary boundaries by working with history and literary fiction. Noted for her dedicated study of gender and sexuality, Pérez also demonstrates a commitment to feminist studies, Chicana studies, and especially Latinx LGBTQ communities. Her complex interlaced approach brings together a powerful critique of the problems within the historical discipline and redirects her concerns for the erasures of Chicana lesbians from the historical record and cultural archive by writing novels that revise the past. Furthermore, in her theoretical work, particularly her groundbreaking book, The Decolonial Imaginary: Writing Chicanas Back into History (1999), Pérez revises the representation of Chicanas by revisiting the history of colonialism and devising a theoretical approach that aims to recast Chicana subjectivity. In her theory of the “decolonial imaginary,” she identifies a set of conditions that presumptively casts Chicanas in a subservient or sexualized role that cannot be easily undone without changing the representations of these conditions, specifically the representations of conquest and colonialism. Likewise, Pérez’s effort to rework the colonial past is performed by her inclusion of Chicanas and Chicana lesbians in her literary works. Her first book of fiction, the novel Gulf Dreams (1996), is unique for its portrayal of sexual violence, racial ambivalences, and romantic love. In her second book, the historical novel Forgetting the Alamo, or Blood Memory (2009), she explores deep same-sex love, complex political histories revolving around differential regard for the lives of women and people of color, and gritty depictions of hardship, loss, historical memory, and the complexities of forgiveness. In the larger scope of Chicana/o literature, Pérez bears no claim to idealizing Chicana/o culture; rather she harmonizes the good with the bad and lets the reader decide what is real. Trained as a historian, Emma Pérez understands that changing the historical past requires reassessing reality, and her work accomplishes this goal.
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