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Article

Betsy Dahms

Born in the lower Rio Grande Valley of South Texas, Gloria Evangelina Anzaldúa (1942–2004) was a prolific writer, scholar, and activist. Her corpus of work includes essays, books, edited volumes, children’s literature, and fiction/autohistorias. Anzaldúa’s life and writing are at the forefront of critical theory as it interacts with feminism, Latinx literature, spirituality, spiritual activism, queer theory, and expansive ideas of queerness and articulations of alternative, non-Western epistemologies and ontologies. The geographical proximity to the US–Mexican border figures prominently throughout in her work, as does her theorization of metaphorical borderlands and liminal spaces. Her oft-cited text Borderlands/La Frontera: The New Mestiza is included in many university courses’ reading lists for its contributions to discourses of hybridity, linguistics, intersectionality, and women of color feminism, among others. Anzaldúa began work on her more well-known theories prior to the publication of Borderlands/La Frontera and continued to develop these theories in her post-Borderlands/La Frontera writing, both published and unpublished. After her sudden death due to complications of diabetes in 2004, Anzaldúa’s literary estate was housed in the Nettie Lee Benson Latin American Collection at the University of Texas, Austin in 2005.

Article

Clint J. Terrell

Jimmy Santiago Baca is a poet, memoirist, novelist, essayist, filmmaker, and activist who began his literary career in Florence State Prison, Arizona, where he was incarcerated from 1974 to 1979. Baca spent most of his adolescent years between orphanages, stints of homelessness, and time in juvenile detention facilities. He credits learning to read and write in prison as the galvanization of his journey from illiteracy to worldly poet, and his endorsement of literacy as an avenue for individual and community empowerment echoes the black nationalist political thought of Malcolm X. In addition to an overarching theme of literacy, he also maintains a critical awareness to the politics of land ownership. He is of Chicano and Apache descent and often draws on his Indigenous heritage, as well as his prison experience, to critique the colonial settler ideology that associates private property with personal liberty. He is among the gallery of canonized Chicano pinto (prisoner) poets like Ricardo Sánchez and Raúl Salinas who discovered their talents while incarcerated. His poetry and prose are in harmony with prisoner discourse that indicts the state for economic injustices and contextualizes crimes as economic necessity instead of demonizing the individual. Similar to Sánchez and Salinas, Baca’s poetic voice can be both figural and visceral in the same breath. But distinct from these pinto poets, Baca’s poetic introduces a proliferation of personas that go back and forth between a poet who wants to love and make peace and a pugnacious identity that was nurtured by the violence of life in various state institutions, particularly prison. He has published eighteen books that include poetry, memoir, fiction, creative non-fiction, essay collections, and chapbooks. He is an active writer and frequently has additional publications in various stages of production, showing us that the negotiation of his traumatic past is never fully complete. Indeed, he continues to push his boundaries as a writer and challenges any preconceived notions about the literary limits of a prison cultivated intellectual.

Article

Yajaira M. Padilla

Central American-American feminisms have come into existence within the recent span of the late 20th to early 21st century as communities of Central Americans have become more established within the United States and multiple generations of US Central American women have come of age. Central American-American feminisms are conceived of in a collective fashion and share some general characteristics. However, they are also characterized by their heterogeneity, reflecting the diversity of US Central American women and their emergent feminist politics. Among the key influences that have helped shaped Central American-American feminisms are women of color or Third World women feminisms. The theory making and feminist praxis that form the basis of Central American-American feminisms register many of the central tenets of the latter, including an emphasis on intersectionality and the notion of shared struggles against broader systems of dominations among women and peoples of color. Within the scope of these broader women of color feminist influences, Chicana feminisms have been particularly important, partly due to the cohabitation of US Central American and Mexican American/Chicano communities in areas such at the US Southwest. In as much as US Central American women identify with Chicana feminist paradigms and experiences of oppression, they also disidentify with them, responding with their own sense of US Central American feminist politics and paradigms that draw on their Central American roots and diasporic experiences. In keeping with their transnational or transisthmian nature and sensibilities, Central American-American feminisms also bear the imprint of the histories of oppression and resistance and of migration of Central American women. Indeed, such histories, and the ongoing struggles tied to them, are understood within US Central American feminist politics as ones that remain inherently linked to those of women in the Central American diaspora. This helps to explain why diasporic experiences and issues related to the legacies and traumas of war, transnational migration and family separation, intergenerational relationships between mothers and daughters, and notions of identity and belonging are prominent within Central American-American feminisms. Such issues and experiences are integral aspects of the everyday lives of US Central American women, immigrants and subsequent generations alike, and, as such, are foundational to US Central American feminist politics. The literature and cultural production, as well as scholarship, of US Central American women, both feminist and not, has been instrumental to the cultivation and emergence of Central American-American feminisms. Looking to such texts provides a useful means of helping to define what Central American-American feminisms are and to make discernible their general characteristics and limitations, the US and Central American-based influences that have shaped them, and the issues that drive them. Many of these works also push back against the multiple mechanisms and structures that have silenced multiple generations of Central American women in and outside of the isthmus. In this sense, such works do more than just offer fertile ground for exploring many key dimensions of Central American-American feminisms. They also constitute an example of US Central American feminist praxis.

Article

Francisco A. Lomelí

Eusebio Chacón was a Mexican American (sometimes referred to as Chicano) figure who straddled the late 19th and early 20th centuries. He is someone who was forgotten and overlooked for about eighty years within the annals of Southwestern literature. He resurfaced in the mid-1970s as a key missing link in what is now called Chicano literature, at a time when its literary lineage was blurry and unknown. He was, therefore, instrumental in allowing critics to look back into the dusty shelves of libraries to identify writers who embodied the Mexican American experience within specific moments in history. Both his person and his writings provide an important window into subjects that interfaced with identity, literary formation and aesthetics, and social conditions, as well as how such early writers negotiated a new sense of Americanism while retaining some of their cultural background. Eusebio Chacón stands out as an outstanding example of turn-of-the-century intelligence, sensibility, versatility, and historical conscience in his attempts to educate people of Mexican descent about their rightful place in the United States as writers, social activists, and cultural beings. He fills a significant void that had remained up to the mid-1970s, which reveals how writings by such Mexican American writers were considered marginal.

Article

Theresa Delgadillo and Leila Vieira

Latinx literature in the Midwest encompasses work created by authors from a variety of backgrounds, with authors of Mexican, Puerto Rican, and Cuban descent predominating in literature that takes locations throughout the region as its settings. Although much work focuses on Chicago, the multiple Latinidades of the region appear in fiction and poetry from across the region. Regarding genre, most of this literature falls into the categories of novel, short story, and poetry; however, works such as prose poems, novels in verse, heavily footnoted fiction, or metaliterary texts challenge genre boundaries and reveal Latinx literary innovation. This literature emerges from the history and experience of Latinx migration to the region, which dates back to the beginning of the 20th century, and, not surprisingly, that history often figures in the literature. Spanish-language Latinx literature about the Midwest also exists, and like its English-language counterpart, often addresses transnational experiences. Major publishers have made the work of Latinx authors in the Midwest well-known, yet there are also vibrant cultures of small press, community, and collective publishing, and self-publishing, through which Latinx authors have shared their talents with wider audiences in and beyond the region. Some of the themes addressed by Latinx literature in the Midwest are migration, with characters coming both from other regions of the United States and directly from Latin America; labor, mostly industrial and agricultural work, but also involving characters in the service sector and professionals; belonging and the question of what and where home is and how to create this space in the Midwest; environment and gentrification; transnationalism, often evoking different ethnic backgrounds from the present; family relationships; gender and sexuality, focusing on what it means to be Latinx and part of the LGBTQ community and situations of discrimination with families and workplaces; race, including Afro-Latinx characters; and religion and spirituality, looking not only to Catholicism, but also to Judaism and African diaspora–inspired systems of Orisha worship.

Article

Ricardo L. Ortiz

Cuba’s historical relationship with the United States predates both countries’ emergence into full political sovereignty and consists of forms of political, economic, and cultural interaction and exchange that have intimately bound the two societies since well before the 19th century. The United States spent the 1800s emerging as an independent nation and increasingly as a regional power in the western hemisphere. Populations from smaller neighboring societies were emerging from colonial rule and often sought protection in the United States from colonial oppression, even as they saw the United States’ own imperial ambitions as a looming threat. Cuban-American literature therefore can trace its roots to a collection of key figures who sought refuge in the United States in the 19th century, but it did not flourish until well into the 20th when geopolitical conditions following World War II and extending into the Cold War era made the United States a natural destination for a significant population of Cubans fleeing Fidel Castro’s Communist Revolution. Most arrived first as refugees, then as exiles, and finally as immigrants settling into homes and making families and lives in their new country. This population has also produced a robust literary culture all its own with deep ties and important contributions to the greater US literary tradition. Cuban-American literary production has proliferated into the 21st century, exploring complex themes beyond national and cultural identity, including gender, sexuality, race, class, and ideology.

Article

Yomaira C. Figueroa

Junot Díaz is a Dominican American award-winning fiction writer and essayist. For over twenty years his work has helped to map and remap Latinx, Caribbean, and American literary and cultural studies. Since his collection of short stories, Drown, debuted in 1996, Díaz has become a leading literary figure in Latinx, Afro-Latinx, and diaspora studies. His voice is critically linked to the legacy of Latinx Caribbean literary poetics reaching back to the 1960s (including Piri Thomas’s Down These Mean Streets, 1967). Díaz’s work is likewise transnational and diasporic, often reflecting the lived experiences of working-class immigrant populations of color in northeastern urban centers. Within a broader scope, Díaz’s writing is tied to feminist African American and Chicana literary traditions, with Díaz citing the influence of writers such as Toni Morrison and Sandra Cisneros in his writing practice. His 2007 award-winning novel, The Brief Wondrous Life of Oscar Wao, earned him a Pulitzer Prize in fiction and catapulted him into literary superstardom. Díaz followed that success with his 2012 collection of short stories, This Is How You Lose Her, which was a finalist for both the 2012 National Book Award for Fiction and the 2013 Andrew Carnegie Medal for Excellence in Fiction. In 2012, Díaz was conferred the MacArthur Fellows Program Award, commonly known as the MacArthur “Genius Grant,” and in 2017, he was inducted into the American Academy of Arts and Letters. In 2019, he was the Rudge and Nancy Allen Professor of Writing at the Massachusetts Institute of Technology (MIT) and the fiction editor at the renowned literary magazine the Boston Review. Over the course of his professional writing career, Díaz has published numerous nonfiction essays and political commentaries, and coauthored opinion editorials on immigration and reflections on Caribbean and US politics. His short story “Monstro,” published in 2012, further rooted Díaz in the genres of science fiction and Afrofuturism. “Monstro” was understood to be a teaser for a now discarded novel of the same name. The simultaneous publication of the English-language Islandborn and Spanish-language Lola in 2018 represented the author’s first foray into the genre of children’s literature. Like much of Díaz’s literary oeuvre, the children’s books chronicle the experiences and memories of Afro-Dominicans in the diaspora through the perspective of a child narrator. Díaz is one of the founders of Voices of Our Nation (VONA), a summer creative writing workshop for writers of color where he helps aspiring writers to workshop their fiction. Díaz’s fiction and nonfiction writings have catalyzed work in literary, Latinx, and Afro-Latinx studies, prompting renewed discourses on literary representations of masculinity, gender, sexuality, intimacy, sexual violence, dictatorship, immigration, disability, Dominican history, race and anti-blackness, anti-Haitianism, decolonization and radical politics, and diaspora and belonging.

Article

Kenya C. Dworkin y Méndez

Evelio Grillo, the son of black Cuban cigar makers in Tampa, Florida, was born in 1919, in Ybor City, an immigrant enclave whose population was predominantly Cuban, Spanish, and Sicilian. When the Cuban population, which was the largest of the three primary ethnic cohorts, had started arriving, in 1885, from Key West and Cuba, its members were approximately 15 percent Afro-Cuban, or darker skinned, and 75 percent white, or lighter-skinned. The number of black Cubans later dwindled significantly, in the 1930s and 1940s, because of the Depression and drastically reduced employment opportunities. Many Cuban immigrants headed North to New York City and other urban centers in the Northeast and Mid-Atlantic searching for and finding better work, more educational opportunities, and more Afro-Latin people and communities to mingle and join forces with, which led to their major involvement in Northern civil rights efforts. Grillo grew up on the “unofficial” border between Ybor City proper and a small, marginalized, African American area between Ybor City and downtown Tampa known as the Scrub. Early on, he came to feel somewhat alienated from his white Cuban counterparts, despite the fact he and they shared a great deal in common—language, history, culture, and religion. The idea of racial unity that had been promoted by José Martí and other Cuban leaders and intellectuals in the years leading up to and during the 1895 Cuban War of Independence, and which had never really totally existed, was quickly abandoned. Eventually, thanks to an extraordinary school experience that took him out of Tampa and to Washington, DC, he became more comfortable and functional in the African American world of Tampa and elsewhere. Grillo ended up receiving a first-rate education at Dunbar High School in the Capitol; earned a bachelor of arts degree at Xavier University, in New Orleans, Louisiana; took three years of courses in Latin American history at Columbia University, in New York City, after the war; and then moved to Oakland, California, to work and earn a master’s degree in social welfare at the University of California, Berkeley. After completing his undergraduate degree at Xavier, Grillo had been drafted into the US Army—the segregated army—and was shipped to India with the 853rd Engineering Battalion to build roads. While there, the developed many talents that he would later synthesize and that served him well later on in life, for example, community organizing, administration, research and writing, communications, and dealing with institutionalized racism and discrimination. Upon moving to Oakland, he took a position in a community center, and after earning his master’s degree from Berkeley, he continued to be involved in community, social, and political organizing. He was active in in local politics and black, Mexican, and Latina/o affairs and initiatives at the national, governmental, and nonprofit levels, working, for example, for the City of Oakland, in the administration of President Jimmy Carter, the War on Poverty, the National Association for the Advancement of Colored People, and the Community Service Organization, and had the opportunity to work with the likes of Herman Gallegos, César Chávez, Dolores Huerta, Fred Ross, and Saul Alinsky.

Article

The study of Native American and Indigenous literatures reveals how native knowledges resisted the Westernizing onslaught implemented forcefully since the beginning of the colonial era by colonial authorities, and after the 19th century by ruling national elites that shared with colonial authorities their belief that local Indigenous cultures needed to be Westernized to be saved. Despite its brutal enforcement, ancestral knowledges managed to resist and survived through the many social crises and transformations that took place from the 16th to the late 20th century. Their lingering effects are visible in this new literary corpus that began to appear in print since the 1960s. In the Latin American case, it is a literary production that is bilingual in nature, as all the authors publish in their own language and in Spanish. The authors in question have rescued their maternal languages in written form and standardized their systems of writing. As Central American-American Indigenous subjects migrate to the United States, they carry with them ancestral knowledges and written literatures as well.

Article

Though the 19th century witnessed the creation of new nations throughout the Americas, late-19th-century Latina/o writing in many respects defies national borders and boundaries. From exiles and immigrants to conquered populations living within the ever-expanding reach of the United States, Latinas/os in the latter part of the century often invoked a transnational and hemispheric perspective in their writing that reflected the border-crossing scope of their experience. From New Orleans to New York to New Mexico, late-19th-century Latina/o writing comprises a heterogeneous archive that is geographically, linguistically, politically, and culturally diverse. Though many texts continued to be written in Spanish, some texts in English began to emerge. The authors of these texts came from a wide variety of racial and class backgrounds, in some cases pursuing cross-racial and cross-class alliances via their writings while in other cases defending their claims to an upper-class white racial identity. Despite this diversity, by the end of the century Latina/o writers of all backgrounds were increasingly subject to marginalization as racialized others within mainstream US society. Many Latina/o texts from this period have been recovered from archives, edited, and republished for contemporary audiences. Scholars of this literature are necessarily involved in the recovery of texts that have been overlooked in private, regional, university, and national archives throughout the Americas. The deep fragmentation of this body of work speaks to the border-crossing nature of late-19th-century Latina/o writing, as well as to the dynamism of a field whose objects of study are constantly expanding and consequently shifting the terrain of what such writing might mean.

Article

Rita E. Urquijo-Ruiz

Chicana lesbian literary critics and authors Alicia Gaspar de Alba and Catrióna Rueda Esquibel established that Chicana and Latina lesbian and queer writings trace back to the conquest of the Americas, be it through the Chicana lesbian feminists’ rewriting of La Malinche (Malintzin Tenepal) or by the reimagining of Sor Juana Inés de la Cruz (Juana Inés Ramírez de Asbaje) as a lesbian. Nevertheless, contemporary Latina lesbian literature in the United States has concentrated primarily on the writings by and about Latina queer women since the early 1980s. These queer Latina letters highlight the impact that women like Sor Juana and Malinche had on the reconfigurations of Latina queer and ethnic identities. To ascertain their empowerment, these Latina writers and artists drew from their personal histories and creativity as activists and survivors in patriarchal and heteronormative societies while maintaining their ethnic, cultural, sexual, and political connections across states, countries, and continents as third world feminists of color. In particular, much of the field of Chicana and Latina feminisms, which emphasize the intersections of race/ethnicity, class, gender, and sexuality, begins in 1981 with the publication of the foundational text This Bridge Called my Back: Writings by Radical Women of Color, edited by Cherríe Moraga and Gloria Anzaldúa. Similarly, in 1987, with the publication of Compañeras: Latina Lesbians, Juanita Ramos initiated the transnational connections between lesbians of Latin American descent living in the United States. Carla Trujillo, influenced by Compañeras and Bridge, published Chicana Lesbians: The Girls Our Mothers Warned Us About in 1991, offering the first collection of writings and visual art by Chicana queers. Ever pushing the boundaries, the anthologies by Lourdes Torres and Inmaculada Pertusa’s Tortilleras: Hispanic and U.S. Latina Lesbian Expression (2003) and the forthcoming Jota (2020), edited by T. Jackie Cuevas, Anel Flores, Candance López, and Rita E. Urquijo-Ruiz, express assertive titles as both offer unapologetic reclamations of controversial labels for queer Latina/Latinx identities through literary criticism, creative writings, and art. These four anthologies present much of the work by authors and performance artists who have published or will publish their individual monographs, novels, texts, graphic novels, short story collections, and plays. In 2015, the journal Sinister Wisdom dedicated an entire issue to “Out Latina Lesbians” that convened over fifty writers and visual artists in the United States. Given their liminality within their respective milieus (primarily, but not exclusively) as women, gender non-conforming individuals, queers, often from working class backgrounds, and with an ethnic or cultural connection to indigeneity, Chicana and Latina lesbians and queers established their own literary and artistic canons. Their rebellious acts have challenged Eurocentric and heteronormative spaces, as individuals and collectives often assume multiple roles as teachers, writers, artists, literary critics, editors, and, in some instances, owners of their own presses.

Article

Latinx literature’s historical interest in the cultural, social, and political dynamics of gender plays as central a role in its long and varied discursive tradition as any other major thematic concern. Since the 19th century, representations of life in Latinx communities inhabiting what increasingly became the territory of the United States put the forces and conflicts of culturally based gender differences center stage, whether those differences came from within a culture, whose values shifted when it moved to a new geographic setting, or from without, when a culture confronted the differing values of an often dominant, oppressive other. Latinx literature is too vast and varied to accommodate a comprehensive account of these shifts and currents. But one can see a steady move away from the rigid binary logic of gender difference inherited from the traditional cis-hetero-patriarchal mindset of colonial Spanish-Catholic rule, a mindset that, historically, overwhelmed whatever more fluid or ambiguous formations of gender and sexuality circulated through indigenous American societies. That steady move cannot be traced in a single line or direction, but it does clearly demonstrate a greater opening of the possibility of dislodging gendered styles of expression from the particular anatomical manifestations of sexed bodies, as well as a greater opening of the possibility for mixed lines of attraction and desire between, within, and even beyond genders. While much liberatory work remains to be done in the actual world, Latinx literature has increasingly opened itself up to more inclusive, affirmative representations of nonnormative lives under the signs of sexuality and gender.

Article

Frederick Luis Aldama

Discussions and debates in and around the formation of Mexican American letters, including its periodization and formulations of its unique ontology, are reviewed, and discussions and analysis of key literary phenomena that have shaped in time (history) and space (region) Mexican American and Chicana/o letters are presented. Foundational scholars such as María Herrera-Sobek, Luis Leal, José Limón, and Juan Bruce-Novoa are considered along with scholar-creators such as Gloria Anzaldúa and Cherríe Moraga. A wide variety of Mexican American and Chicana/o authors of fiction, poetry, and nonfiction are reviewed, including Alurista, María Amparo Ruiz de Burton, Marío Suárez, Arturo Islas, Richard Rodriguez, and Ana Castillo, among many others.

Article

Vanessa Fonseca-Chávez

The literary and cultural legacy of Spanish-language and bilingual newspapers in New Mexico provides insight into the changing political climate of the territory and state from the early 19th century to the years following statehood in 1912. As such, New Mexico newspapers provided an outlet for Hispanic New Mexicans to publish political commentary and literary production that promoted cultural preservation and served as a mode of resistance to incoming Anglo-American outsiders who arrived to this region in the years prior to and following the Mexican–American War (1846–1848). While newspapers came and went, the literature published and later recovered through more contemporary efforts of preservation and dissemination can be viewed as an important contribution to the current body of literature that informs regional New Mexican studies as well as larger Chicano/a literary and Latino/a literary studies.

Article

In a country where literacy rates are among the highest in the region, books are cultural objects cherished by vast sectors of the Argentine population as well as powerful symbolic, cultural, economic, and political artefacts. In particular, books on politics are an indispensable segment in the catalog of any Argentine publishing house. The vertiginous nature of politics and the historical significance of the book in Argentine society are such that the publishing sector has been—and still remains—one of the preferred spaces where symbolic and political power is disputed. Throughout the 20th century and the first two decades of the 21st century, the publishing market responded to different historical circumstances by producing headlines that sought to engage readers in different ways, helping them make life choices and understand the significance of their own time, as well as forming or reinforcing their opinions. Manufactured from the Left to the Right, books on politics expressed and shaped wills and aspirations, serving as combat weapons and means for the creation of spaces where ideas and political sentiments flourish. There are historical ties between the Argentinean publishing and political spheres, and the publishing process works as a fundamental form of mediation concerning the production and distribution of political ideas. Against the image of the book as an exclusive bridge connecting the authors with the reading public, a sociological and material viewpoint might focus on the publishing world and its protagonists: the ghost editors and agents who play an indispensable and decisive role in the processes whereby a book becomes an entitled cultural, economic, and political intervention—a great factory of ideas, discourses, and products with material and symbolic ramifications that influence public debates and agendas.

Article

Josephine Metcalf

Luis J. Rodríguez is a Chicano memoirist, novelist, poet, children’s author, and activist. Born in 1954 in Mexico, his family migrated to the United States when he was young. As a youth, he spent many years immersed in the street gangs of Los Angeles while concurrently partaking in community protests and mobilizations that became known as the Chicano movement of the 1960s and 1970s. It took Rodríguez several years to extract himself from a life of crime and addiction to drugs, though all the while he was writing, painting, and being inspired by revolutionary figures. His first book of poetry was published in 1989, but it was his memoir of gang life, Always Running—La Vida Loca: Gang Days in LA, released in 1993 in the aftermath of the LA riots, that garnered him mainstream literary attention. Always Running and its sequel, It Calls You Back: An Odyssey Through Love, Addiction, Revolutions and Healing, eighteen years later, can be labeled testimonio for detailing a Latina/o “lived” experience and fighting social injustices. In many ways Rodríguez can be deemed a “classic” Chicana/o author: he addresses the experience of migration and writes in both English and Spanish; he explores themes of prejudice and identity for Mexican Americans in the United States; and he considers the role of heteropatriarchal aspects of Mexican culture in defining his relationships (with women and children). His steadfast dedication to Native American/indigenous spirituality is a more recent focus in his life and writings, situating him among a long list of Chicana/os who have embarked on the “Red Road,” that is, life as indigenous-identified subjects. But what most arguably sets Rodríguez apart from fellow Chicana/o writers is his allegiance—throughout all his works in all genres—to proletarian politics and concerns for the working classes. His critiques of deindustrialization and its subsequent effects, particularly poverty, are reflected, for example, in his depictions of the Bethlehem Steel Mill of LA, where Rodríguez worked.

Article

Juan Velasco

The overwhelming critical attention received by Richard Rodriguez’s Hunger of Memory: The Education of Richard Rodriguez (1982) has eclipsed the complexity and diversity of his work as well as the discussion on his impact on Latina/o studies and autobiography studies. A great deal of bibliography dedicated to Rodriguez is the result of the ideological battles the book was engaged in during the 1980s. The political context in which the book was used (mostly to oppose affirmative action and bilingual education) defined the rest of Rodriguez’s work, as some critics considered his positions on education almost treasonous. Lee Bebout summarizes those reactions in “Postracial Mestizaje: Richard Rodriguez’s Racial Imagination in an America Where Everyone Is Beginning to Melt,” as he mentions how most critics saw Rodriguez’s work as the result of a colonized mind, a mannequin for white America. “Tomas Rivera, Ramon Saldívar, William Nericcio, and others critiqued Rodriguez’s thinking, and sometimes Rodriguez himself, as the result of a colonized mind, blind to history and structural inequalities, and playing the role of a “Mexican” mannequin in the mind of white America.” In an interview with scholar José Antonio Gurpegui in Camino Real, Rodriguez admitted “I do see myself—in some more complicated way—as truly being a traitor to memory, if not exactly a traitor to Mexico or to Latin America. I do think I betrayed my family, betrayed my mother and father by becoming someone new—a ‘gringo.’” If we place his work in this context, Rodriguez’s work brings urgency and new significance to Latina/o studies in the 21st century by highlighting the unresolved contradictions that memory, culture, and identity posit as vehicles of agency. His approach to autobiography redefines traditional notions of identity, race, and language, and offers critical notions of subject formation beyond cultural nationalism, proposing queer paradigms that complicate and challenge writing as a clear vehicle for self-empowerment. His writing, queer to cultural nationalism, is deeply committed to the exploration of autobiography as discontinuous space—a space of disruptive transgression where words are barely a ghostly shell; a floating dream in search of an identity.

Article

Jesús F. de la Teja

Juan Nepomuceno Seguín (1806–1890) was the leading Mexican-Texan military figure of the Texas Revolution (1835–1836) to participate on the Texas side of the struggle. He was the only Mexican Texan to serve in the Senate of the Republic of Texas and was the last Mexican Texan to serve as mayor of San Antonio until the 1980s. Having fled to Mexico to avoid violence at the hands of enemies he made during his tenure as mayor, he commanded an auxiliary cavalry company of fellow Mexican-Texan exiles in the Mexican army until the end of the US-Mexico War. During his effort to reestablish himself in Texas in the 1850s he wrote his memoirs of the Texas Revolution. He was one of only three Mexican Texans to do so, and the only one to have them published during his lifetime. Seguín returned to Mexico on the eve of the US Civil War to participate in Mexico’s civil conflicts. In about 1870 he permanently settled in Nuevo Laredo, where he died in 1890.

Article

Arnaldo M. Cruz-Malavé

Initially censored, shunned, or ignored by the literary establishment, both in the United States and Puerto Rico, New York Puerto Rican author Piri Thomas’s 1967 autobiographical coming-of-age story, Down These Mean Streets, gained great visibility as a sociological document when it was first published, garnering much media attention and recognition for Thomas as a spokesman for the New York Puerto Rican community, a role that he embraced as part of his social activism. But Thomas’s work, which includes the sequel to Down These Mean Streets—Savior, Savior, Hold My Hand; a prison memoir, Seven Long Times; a book of short stories, Stories from El Barrio; and performance and poetry, would not acquire canonical literary status as founding a new U.S. Puerto Rican or Nuyorican literature until the 1980s when critics in American universities began to introduce Nuyorican literature as part of a curricular revision of the U.S. literary canon that sought to include minority literatures in American college courses. In the 1990s, Thomas’s status as a founding figure of Nuyorican literature and identity would give way to a more complex view of him as an author, as queer and feminist scholars of color began to examine the relationship of race and national and ethnic identity and belonging to questions of gender and sexuality in his writing. Thomas would then emerge as a more ambiguous, intercultural, and intersectional author, indeed as emblematic of the in-between or abject zone that the hierarchical binaries of dominant discourses of race, national, and ethnic belonging often situated Latino/as in, invisibilizing them. If in the late 1960s and early 1970s Thomas’s work became representative of the communities and subcultures whose voices were elided in American society, in the 1990s young U.S. Latino/a writers would adopt his work as emblematic of a resistant Afro-Latino otherness that could be deployed against an increasingly homogenizing version of Latinidad or Latino/a identity as a racially and ethnically unified commodity in the plural neoliberal American literary and cultural market. Since the 2000s, readings of Thomas’s work have continued to address the topic of otherness in his work, interrogating its normalization and focusing on the psychoanalytic and political issues of racial melancholia, introjection, and the status of lack in subject formation in his writing. Another trend has set about situating Thomas’s writing at the intersection between colonial and diasporic metropolitan racial formations, connecting it with Puerto Rico’s racialized literary canon, Caribbean “intra-colonial” diasporic relations, and Filipino American literature and culture. Yet another line of research has focused on the author’s narrative and performative choices rather than on his abject condition. And his performance in poetry has begun to get some well-deserved critical attention. All in all, the challenge of Thomas criticism remains the ability of scholars to establish a dialogue between the aporias and impasses that his writing is situated in (that is, questions of racial abjection and coloniality) and his skill and imagination as a writer and performer, between what he characterizes, on the one hand, as the “bullets” and, on the other, as the “butterflies” that constitute and propel his writing.

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The field of Latina/o/x studies has long been interested in various forms of gender and sexual deviance and diversity as a site of inquiry. Yet, there are many gaps in the literature of the field when it comes to the study of trans subjectivities, politics, and cultural formations. Foundational theoretical works such as Sandy Stone’s “A Posttransexual Manifesto” (1991) and Gloria Anzaldúa’s Borderlands (1987) share a theoretical approach to understanding autoethnographic texts that propose to write minoritarian subjects into discourse. The result of the two works is the emergence of the “new mestiza” and the “posttranssexual,” two figures that come to shape the fields of transgender, Chicana/o/x, and Latinx studies, respectively. There are myriad ways in which the fields of transgender studies and Latinx studies overlap and depart from each other. Most often, transgender studies is characterized as not grappling directly with race, colonialism, and imperialism, while Latina/o/x studies can at times be read as treating transgender subjects as objects, or sites of inquiry. Therefore, there is much to be gleaned from exploring how the two fields might come into contact with each other, as each becomes increasingly institutionalized.