By Catriona Rueda Esquibel
With the 1981 book of the groundbreaking anthology "This Bridge known as My again: Writings through Radical ladies of Color", Cherrie Moraga and Gloria Anzaldua ushered in an period of Chicana lesbian writing. yet whereas those writers have completed iconic prestige, observers of the Chicana/o event were gradual to understand the life of a complete neighborhood - lesbian and directly, male in addition to girl - who write in regards to the Chicana lesbian adventure. To create a primary complete map of that group, this publication explores quite a lot of performs, novels, and brief tales through Chicana/o authors that depict lesbian characters or lesbian desire.Catriona Rueda Esquibel starts off from the basis that Chicana/o groups, theories, and feminisms can't be absolutely understood with out taking account of the views and reviews of Chicana lesbians. To open up those views, she engages in shut readings of works concentrated round the following topics: los angeles Llorona, the Aztec Princess, Sor Juana Ines de l. a. Cruz, girlhood friendships, rural groups and historical past, and Chicana activism. Her research broadens the neighborhood of Chicana lesbian writers way past Moraga and Anzaldua, whereas it additionally demonstrates that the histories of Chicana lesbians have needed to be written in works of fiction simply because those ladies were marginalized and excluded in canonical writings on Chicano lifestyles and adventure.
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Extra resources for With Her Machete in Her Hand: Reading Chicana Lesbians (Chicana Matters)
Example text
However, though they are consistently invoked as important interventions into Chicana and Latina discourse, rarely have any of the works in either of these collections been studied seriously. Chicana Lesbian Fictions 13 Compañeras, originally self-published by the Latina Lesbian History Project and then reissued by Routledge, features sixty-nine works by forty-seven authors and artists. The vast majority of the selections are personal essays, autobiographical vignettes, or oral histories. One memorable story by a Chicana author is Azucena Coronel’s short story “Menudito,” which depicts class and cultural differences in an interracial relationship while eroticizing traditional Mexican food.
Cleófilas is helped by a sisterhood of women, showing that she has more choices than Soledad, Dolores, and the creek. Felice (Happiness), the truck-driving Tejana who delivers Cleófilas and her family to the San Antonio bus station, is a woman unlike any Cleófilas has ever known. The fact that she drove a pickup. A pickup, mind you, but when Cleófilas asked if it was her husband’s, she said she didn’t have a husband. The pickup was hers. She herself had chosen it. She herself was paying for it.
Morena 1980, 346) In her play Survivors: A Lesbian Rock Opera (1980), Naomi Littlebear Morena creates a Chicana protagonist, Clara, who refuses to accept the “Woman of Color” role assigned to her in her white feminist community. Clara argues that feminists, like Chicano nationalists, erase her lesbianism in favor of their preconceived notions of her identity and role. In works such as Cherríe Moraga’s “A Long Line of Vendidas” and Gloria Anzaldúa’s Borderlands/La Frontera, the connection between Malinche and lesbians is pursued as a means of turning patriarchal machista logic on its head: Not me sold out my people but they me.