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Frontera and continued to develop these theories in her post-Borderlands/La Frontera writing, both published and unpublished.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.
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Anzaldúa, Gloria
Betsy Dahms
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Asian American Literary Reception and Readership
Tamara Bhalla
Asian American literary studies, and multi-ethnic literatures more broadly, have maintained a constant faith in the power of literature as a potential tool of anti-racist education. This faith in literature’s potential is not naïve, since it also recognizes how even the most diverse and ideal literary education can be co-opted by the workings of capitalism and neoliberalism. These fields are founded in an enduring and powerful belief that literature affects the social, cultural, and political esteem of a minority group in the United States. Within the field of Asian American studies, academics, activists, and cultural critics have sought to harness the power of various forms of cultural discourse and literature by mediating the stories told about (and at times by) Asian Americans. As Asian American literature has grown in popularity, there has been increasing attention to questions of who is represented within Asian American literature and who is deemed worthy to produce these representations. Such concerns have over time produced an abiding if somewhat tacit interest in questions of literary reception in the field. In fact, although many of the major literary controversies in Asian American studies have circulated around questions of representation and reception and ushered in paradigm shifts in how the field has conceptualized itself, it is an area that remains understudied. Asian American literary reception study and studies of readership are still emerging and crucial areas of analysis that could pose and posit answers to questions of literature’s possibilities and limitations as a tool of anti-racism in 21st-century America.
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Mexican American (Chicana/o)
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.
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Vietnamese Canadian Refugee Aesthetics
Vinh Nguyen
Vietnamese Canadian refugee aesthetics are the diverse expressions of how hundreds of thousands of refugees and their descendants experienced the Vietnam War and its aftermath. They are shaped on the one hand by a history of war in, and forced migration from, Vietnam and on the other by resettlement in multicultural Canada. Significantly, Vietnamese Canadian refugee aesthetics are produced within a distinct context of Canadian “forgetting of complicity” in the Vietnam War. A major shaping force of this aesthetics is the idea that Canada was an innocent bystander or facilitator of peace during the war years, instead of a complicit participant providing arms and supporting a Western bloc victory. This allows, then, for a discourse of Canadian humanitarianism to emerge as Canada resettled refugees in the war’s wake. Vietnamese Canadian refugee aesthetics are produced and received in relation to the enduring narrative of Canadian benevolence. In this way, they celebrate the nation-state and its peoples through gratitude for the gift of refuge. More importantly, however, they illuminate life during and in the wake of war; the personal, political, and historical reasons for migration; the struggles and triumphs of resettlement; and the complexities of diasporic existence. Refugee aesthetics are driven by memory and the desire to commemorate, communicate, and make sense of difficult pasts and the embodied present. They often take the form of literary works such as memoirs, novels, and poetry, but they are also found in community politics and activism, such as commemoration events and protests, and other popular media like public service videos. Produced by refugees as well as the state, these aesthetic “texts” index themes and problematics such as the formation of voice; the interplay between memory, history, and identity; the role of autobiography; and the modes of representing war, violence, and refuge-seeking.