She also developed theories about the marginal, in-between, and mixed cultures that develop along borders. When she was eleven, her family relocated to Hargill, Texas. While in Austin, she joined politically active cultural poets and radical dramatists such as Ricardo Sanchez, and Hedwig Gorski. In , she moved to California, where she supported herself through her writing, lectures, and occasional teaching stints about feminism, Chicano studies, and creative writing at San Francisco State University , the University of California, Santa Cruz , Florida Atlantic University , and other universities. It has now been published posthumously by Duke University Press
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Disease and Pain: American Voi Her approach to wounding and pain and her proposals for healing and transformation are discussed at various stages of her career considered as different stages along the path of conocimiento. What emerges from this analysis is a vision in which the personal and the social are closely connected and in which various traditions the Aztec and the Catholic converge and mix to provide a conception of pain not as privatizing, meaningless, and world-destroying, but as significant and transformative.
It is a collection of writings autobiographical pieces, poems, letters by writers and activists of color Black, Native American, Asian American, and Latina women who introduced, for the first time, issues of race, class, and sexuality within the feminist debate. Their coming to grips with its perversions—racism, prejudice, elitism, misogyny, homophobia, and murder. This Bridge Called My Back. The sense of inadequacy experienced by the future writer was also amplified by a number of personal and social circumstances: a hormonal imbalance that deeply marked her childhood making her feel strange and queer; poverty, reinforced by the early death of her father, that was a cause of shame; and her desire of not conforming to the traditional roles of wife and mother that were strongly encouraged by her community.
But it's taken over thirty years to unlearn the belief instilled in me that white is better than brown—something that some people of color will never unlearn. And it is only now that the hatred of myself, which I spent the greater part of my adolescence cultivating, is turning to love. And before a scab forms it hemorrhages again, the lifeblood of two worlds merging to form a third country—a border culture.
The fragmentary narrative trend of the text couples with its issue and is intended to cope with the complexity of it; but Borderlands can also be read as an autobiography whose turning point is represented by chapter IV that recounts the process of death and rebirth suffered by the writer in order to be healed by the wounds of the past, and being able, as representative of the new mestiza, to develop a vision for the recreation of American society.
Without crossing any frontier But it also refers to the results of the continuous hegemonic practices of the United States over Mexico, that informed Mexican economy and politics, shaping the fate of the Mexican diaspora to USA, in great part characterized by practices of marginalization, segregation, and, more recently, by incarceration and deportation.
Although the Treaty of Guadalupe Hidalgo conferred American citizenship, and the rights attached to it, to all Mexicans who chose to remain in those territories, soon the U. The racial and class difference between the two groups and the attachment of the former Mexicans to their own traditional ways, with their consequent stance of resistance against American culture, laid the foundations of the relationship between the two groups.
Chicanos organized in a movement fighting on several fronts: for political representation, labor rights, social programs, and access to education. As Benedict Anderson explained in his study on the emergence of the modern nation-states, in the transition from socially dense community to nation-states, imagination played a central role in creating in individuals a sense of belonging to the same national community.
The Plan provided them with a past able to re-compose the dismemberment caused by the Treaty of Guadalupe-Hidalgo as well as the one daily lived by them, due to racism and exploitation.
The past is recovered in terms of mythology but also of history and worked, adapted, made flexible to tell the most intimate things, to produce a vision for change, to reconstruct continuity against dismemberment and fragmentation, and to speak to future generations. It is a complex chapter in which we find the first expression of her conception of pain, as well as the metaphorical apparatus used to describe it.
A glance can scrutinize, judge, and paralyze, but in a glance also lies knowledge, awareness. There are many defense strategies that the self uses to escape it and the writer has used them all: she has repudiated parts of herself that others rejected; she has used rage to drive others away and isolate herself, she has reciprocated with contempt for those who have roused shame in her, she has internalized rage and contempt.
Items made from this material had both utilitarian and ritual use; Aztecs used it also to predict the future. Seers stared into the mirror until they fell into a trance; on its dark reflective surface they saw clouds of smoke which would part to reveal a vision concerning the future of the tribe and the will of the gods.
But I dig in my heels and resist. All the lost pieces of myself come flying from the deserts and the mountains and the valleys, magnetized toward that center. As regards the former, the writer had already alluded, at the beginning of the fourth chapter, to the practice of blood sacrifice. The ancient rituals of bloodletting, too, were practiced as a means of communication with the spiritual world.
She compares herself to a shaman a shape-changer, to nahual and the act of writing to the shamanic state, involving the whole body, not just the mind. It is then that writing heals me, brings me great joy.
According to the legend, after her mother was made pregnant by a ball of feathers, Coyolxauhqui encouraged her four hundred brothers and sisters to kill Coatlicue; as they attacked their mother, the fetus, Huitzilopochtli, the God of War, sprang fully grown and armed from Coatlicue, tore Coyolxauhqui into over a thousand pieces, throwing her head into the sky, and killed her brothers and sisters.
According to several feminist scholars, this legend marks a shift in Mexican history, from a gynocentric to an androcentric ordering of life, and represents a spoliation of female power. Irene Lara, Besides, the subsequent context of Spanish colonialism demonized and fragmented indigenous sacred deities such as Coatlicue and Coyolxauhqui.
In contrast to clinical, medical, or therapeutic perspectives on disability, they examine it as a social, cultural, and political phenomenon, focusing on the ways disability is defined and represented in society. As Jennifer C. James and Cynthia Wu explain, the deployment of disability in socio-political spheres shifts our attention from disability as a medical problem located in the individual to disability as a label that generates institutionalized exclusion.
She answered that she did not identify herself as disabled or diabetics but that she was happy to be read in any of the disciplinary studies, since she abhorred academic censorship of any kind. You can no longer deny your own mortality […] Is this what it feels like to die? She is convinced, in fact, that pain, beside love, is the most powerful agent of transformation, and that is why she invites readers to use wounds as openings to others, overcoming the temptation to victimhood:.
Using wounds as openings to become vulnerable and available present to others means staying in your body. But the cost of victimhood is that nothing in your life changes, especially not your attitudes, beliefs. Or are we, rather, returned to a sense of human vulnerability, to our collective responsibility for the physical lives of one another?
Anaya, Rudolfo A. Albuquerque: University of New Mexico Press, Anderson, Benedict. London: Verso, New York: Kitchen Table, San Francisco: Aunt Lute, This bridge we call home: radical visions for transformations. New York: Routledge, AnaLouise Keating. Durham and London: Duke University Press, Beebout, Lee. Minneapolis: University of Minnesota Press, Bost, Suzanne.
New York: Fordham University Press, Butler, Judith. Precarious Life: the Powers of Mourning and Violence. New York: Verso, Contreras, Sheila Marie. Couser, Thomas G. Madison: The University of Wisconsin Press, Gonzalez, Gilbert G.
James, Jennifer C. Kandiyoti, Dalia. Lara, Irene. New York: Palgrave Macmillan, Markam, Roberta H, and Peter T. San Francisco: Harper, McMaster, Carrie. Nancy, Jean-Luc. Alfred Arteaga. Durham: Duke University Press, Scarry, Elaine.
New York: Oxford University Press, Assistant Professor, University of Perugia Italy , mirella. Disease and Pain: American Voices. She is convinced, in fact, that pain, beside love, is the most powerful agent of transformation, and that is why she invites readers to use wounds as openings to others, overcoming the temptation to victimhood: Using wounds as openings to become vulnerable and available present to others means staying in your body.
Bibliographie Anaya, Rudolfo A. Haut de page. Transnationalism and Modern American Women Writers Modernist Non-fictional Narratives: Rewriting Modernism Histories of Space, Spaces of History Artistic and Literary Commitments Disease and Pain: American Voices Suivez-nous Flux RSS.
Gloria E. Anzaldúa
A native of the Southwest, Anzaldua is a Chicana lesbian feminist theorist, creative writer, editor, and activist. She has taught Chicano studies, feminist studies, and writing at a number of universities. In addition, she has conducted writing workshops around the world and has been a contributing editor for the feminist literary journal Sinister Wisdom since She has also been active in the migrant farm workers movement. Anzaldua first came to critical attention with an anthology she coedited with Cherrie Moraga, another Chicana lesbian feminist theorist and writer. Titled This Bridge Called My Back: Writings by Radical Women of Color , the anthology includes poetry, fiction, autobiographical writing, criticism, and theory by Chicana, African American, Asian American, and Native American women who advocate change in academia and the culture at large. It combines prose and poetry, history, autobiography, and criticism in Spanish, English, as well as Tex-Mex and Nahautl.
The Gloria Anzaldúa Reader