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Article

Latino Gay Literature  

Daniel Contreras

Who are we when we read queer Latinx literature? It may be helpful in approaching this topic to think about what we mean by America along with what we mean by Latinx, or Latina/o, and Latin American. Some Latin Americans, for example, become irritated by US citizens referring to their own country as America when in fact that term refers to two enormous continents. Another issue to consider is what dynamic exists between Latino/a and Latin American as terms identifying groups of people. We should add Caribbean to this discussion, which also complicates matters since Puerto Ricans are US citizens with histories tied to the Caribbean. Mexican Americans (or Chican/aos) live in a country that borders the other “half” of their designation. Both these cases introduce vexed questions about immigration and belonging. Queer itself is not a word that escapes controversy. It can be used as a provocation, to challenge hate language by neutralizing it. But does that work? How do we know when it does? And when do we know when we have succeeded and can drop its usage entirely? And does queer automatically mean gay? In its usage as an umbrella terms what happens to the specificity of same-sex desire? And finally, literature is itself a contested term as there is no critical consensus on what exactly designates written expression as literature as opposed to simply writing. Therefore I would argue that any attempt to be comprehensive about Queer Latinx literature can only be provisional. But any such attempt that is based on critical rigor and empathy should be welcomed.

Article

Literary Representations of Migration  

Marisel Moreno

Migration has always been at the core of Latina/o literature. In fact, it would be difficult to find any work in this corpus that does not address migration to some extent. This is because, save some exceptions, the experience of migration is the unifying condition from which Latina/o identities have emerged. All Latinas/os trace their family origins to Latin America and/or the Hispanic Caribbean. That said, not all of them experience migration first-hand or in the same manner; there are many factors that determine why, how, when, and where migration takes place. Yet, despite all of these factors, it is safe to say that a crucial reason behind the mass movements of people from Latin America and the Hispanic Caribbean to the United States has been direct or indirect US involvement in the countries of origin. This is evident, for instance, in the cases of Puerto Rico (invasion of 1898) and Central America (civil wars in the 1980s), where US intervention led to migration to the United States in the second half of the 20th century. Other factors that tend to affect the experience of migration include nationality, class, race, ethnicity, gender, sexuality, religion, language, citizenship status, age, ability, and the historical juncture at which migration takes place. The heterogeneous ways in which migration is represented in Latina/o literature reflect the wide range of factors that influence and shape the experience of migration. Latina/o narrative, poetry, theatre, essay, and other forms of literary expressions capture the diversity of the migration experience. Some of the constant themes that emerge in these works include nostalgia, transculturation, discrimination, racism, uprootedness, hybridity, and survival. In addressing these issues, Latina/o literature brings visibility to the complexities surrounding migration and Latina/o identity, while undermining the one-dimensional and negative stereotypes that tend to dehumanize Latinas/os in US dominant society. Most importantly, it allows the public to see that while migration is complex and in constant flux, those who experience it are human beings in search for survival.

Article

Indiana Hernández, Rita  

Selma Feliciano-Arroyo

Rita Indiana Hernández (b. June 11, 1977, Santo Domingo, Dominican Republic) is a Dominican writer, musician, and performer. In addition to her popularity as a singer-songwriter, she is widely regarded as one of the most important Dominican authors of her generation. Her literary career began in the 1990s with short works included in zines such as Vetas. By 2001, she had self-published three books: two collections of short stories—Rumiantes (1998) and Ciencia succión (2001)—and one novella, La estrategia de Chochueca (2000). A second novel, Papi, followed in 2005. About that time, she began experimenting with musical and visual projects as part of different performance groups, such as Casifull and Miti Miti. In 2009, she was the youngest Dominican author to be honored in the Santo Domingo Book Fair, where she was also booked as a musical performer. Her popularity as a musician grew even more after the 2010 release of the album El juidero, recorded with her band Rita Indiana y los Misterios. She subsequently published two more novels, Nombres y animales (2013) and La mucama de Omicunlé (2015). Scholarly interest in her writing and her music has centered on the way they give voice to contemporary subjectivities and put forth imaginaries of citizenship, social relationships, and belonging that depart from institutionalized discourses of identity. Rita Indiana has stated on various occasions that she sees her literary projects and her musical projects as intertwined endeavors. This is evident not just in the thematic unity between them but also in the aesthetic strategies she uses. In her work, she references mass media, Dominican popular cultural production, and global youth cultures to highlight the interplay between the local and the global in the postmodern Caribbean. Rita Indiana also explores issues pertaining to the intersections of race, gender, sexuality, class, and migratory status. Since approximately the middle of the 2000s, Rita Indiana’s work has been embraced increasingly by critics. She was also named one of the one hundred most influential Latino/a personalities by the Spanish newspaper El País.