Battlegrounds and Crossroads: Social and Imaginary Space in by Maria Antònia Oliver-Rotger

Aerospace Equipment

By Maria Antònia Oliver-Rotger

Of curiosity to trained readers attentive to mixed textual and cultural ways to Chicano/a literature and literature mostly, Battlegrounds and Crossroads weaves in quite a few severe and theoretical threads to inquire into the connection among intimate and public areas in Chicana literature. with no claiming the borderlands as particular of the Chicana/o mind's eye, this ebook recognizes the significance of this metaphor for bringing to view a extra intercultural usa, permitting it to develop into inflected with the particularity of every textual content. The analyses of Chicana fiction, drama, and autobiography discover the development of id throughout the illustration of social area and the transformation of literary area. For dialogue of a diacritical territory this quantity attracts on a interdisciplinary perform that enables the adventure from the main intimate areas to the main public areas of modernity, in order that the classy textual content yields its wisdom of the contingent ancient conditions of its creation in fabric and existential phrases. the plain regionalism and localism of this literature is not anything yet a mirrored image of the connection among the neighborhood and the worldwide, the non-public and the general public, the private and the political, the classy and the ideological, the subversive and the mainstream. every one textual content stands on its own whereas it additionally reaches out to the sociopolitical imaginary for interpretation via an interdisciplinary method that's essential to do justice to a politicized aesthetics.

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The following passage illustrates her ambiguous position: As a mestiza I have no country, my homeland cast me out; yet all countries are mine because I am every woman’s sister or potential lover. ) I am cultureless because, as a feminist, I challenge the collective cultural/religious malederived beliefs of Indo-Hispanics and Anglos; yet I am cultured because I am participating in the creation of yet another culture, new story to explain the world and our participation in it, a new value system with images and symbols that connect us to each other and to the planet.

This mythical place is coupled with the borderlands to which the title of Anzaldúa’s work alludes, that subjective space of the critical The mythical construction of this space and its cultural and political repercussions will be further developed in Chapter 2. 14 For more detailed accounts of the cultural nationalism of the Chicano Movement and its political failures, see Chapter 2. 13 48 imagination, a site of resistance that can bring about a regenerating and healing process. These borderlands are also, very much in spite of the mestiza, a real “frontline, a war zone,” for they are the habitat of the undocumented, the queers, the maquiladora workers, the farm workers, the cholo gangs, the mojada15, "the squint-eyed, the perverse, the queer, the troublesome, the mongrel, the mulatto, the half-breed, the half dead" (3).

This existence is difficult to define, as it always involves the erasure of one part of themselves by one group or another. In his poem “asimilao” the Nuyorican poet Tato Laviera evokes the lost side of his identity, his boricua (indigenous, jíbaro) past while at the same time putting the notion of assimilation to the Spanish and American ethoi under erasure: assimilated? qué assimilated, brother, yo soy asimilao, así mi la o sí es verdad, tengo un lado asimilao. you see, they went deep.... Ass oh........

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