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Chicano Nations argues that the trans-nationalism that is central to Chicano identity originated in the global, postcolonial moment at- the turn of the nineteenth century rather than as an effect of contemporary economic conditions, which began in the mid nineteenth century and primarily affected the labouring classes. The Spanish empire then began to implode, and colonists in the new world debated the national contours of the viceroyalties. This is where Marissa K. Lopez locates the origins of Chicano literature, which is now and always has been post-national, encompassing the wealthy, the poor, the white, and the mestizo. Tracing the long history of Chicano literature and the diversity of subject positions it encompasses, Chicano Nations explores the shifting literary forms authors have used to write the nation from the nineteenth to the twenty-first centuries. Lopez argues that while national and global tensions lie at the historical heart of Chicana/o narratives of the nation, there should be alternative ways to imagine the significance of Chicano literature other than as a reflection of national identity.In a nuanced analysis, the book provides a way to think of early writers as a meaningful part of Chicano literary history, and, in looking at the nation, rather than the particularities of identity, as that which connects Chicano literature over time, it engages the emerging hemispheric scholarship on U.S. literature.
As the descendants of Mexican immigrants have settled throughout the United States, a great literature has emerged, but its correspondances with the literature of Mexico have gone largely unobserved. In Bordering Fires, the first anthology to combine writing from both sides of the Mexican-U.S. border, Cristina Garc’a presents a richly diverse cross-cultural conversation. Beginning with Mexican masters such as Alfonso Reyes and Juan Rulfo, Garc’a highlights historic voices such as “the godfather of Chicano literature” Rudolfo Anaya, and Gloria Anzaldœa, who made a powerful case for language that reflects bicultural experience. From the fierce evocations of Chicano reality in Jimmy Santiago Baca’s Poem IX to the breathtaking images of identity in Coral Bracho’s poem “Fish of Fleeting Skin,” from the work of Carlos Fuentes to Sandra Cisneros, Ana Castillo to Octavio Paz, this landmark collection of fiction, essays, and poetry offers an exhilarating new vantage point on our continent–and on the best of contemporary literature. From the Trade Paperback edition.
In struggling to retain their cultural unity, the Mexican-American communities of the American Southwest in the nineteenth and twentieth centuries have produced a significant body of literature. Chicano Narrative examines representative narratives--including the novel, short story, narrative verse, and autobiography--that have been excluded from the American canon.
Interviews with major Chicana/o authors are the basis for this examination of the commonality of issues in the work of each of them.
Mirrors Beneath the Earth is an historic and unique collection of contemporary Chicano fiction: 31 stories depicting the richly varied experiences of Mexican-Americans in the U.S. Some, like Sandra Cisneros, Rudolfo Anaya, Ana Castillo, are already celebrated writers. The special strength of this anthology is that it introduces others who have never before been published in book form, like Ana Baca, Patricia Blanca, Rafael Jesus Gonzalez, and Natalia Trevino. These writers open our eyes and enrich our understanding.
Mario Su‡rez will tell you: GarzaÕs Barber Shop is more than razors, scissors, and hair. It is where men, disgruntled at the vice of the rest of the world, come to get things off their chests. The lawbreakers come in to rub elbows with the sheriffÕs deputies. And when zoot-suiters come in for a trim, Garza puts on a bit of zoot talk and "hep-cats with the zootiest of them." A key figure in the foundation of Chicano literature, Mario Su‡rez (1923-1998) was among the first writers to focus not only on Chicano characters but also on the multicultural space in which they live, whether a Tucson barbershop or a Manhattan boxing ring. Many of his stories have received wide acclaim through publication in periodicals and anthologies; this book presents those eleven previously published stories along with eight others from the archive of his unpublished work. It also includes a biographical introduction and a critical analysis of the stories that will broaden readersÕ appreciation for his place in Chicano literature. In most of his stories, Su‡rez sought to portray people he knew from TucsonÕs El Hoyo barrio, a place usually thought of as urban wasteland when it is thought of at all. Su‡rez set out to fictionalize this place of ignored men and women because he believed their human stories were worth telling, and he hoped that through his depictions American literature would recognize their existence. By seeking to record the so-called underside of America, Su‡rez was inspired to pay close attention to peopleÕs mannerisms, language, and aspirations. And by focusing on these barrio characters he also crafted a unique, mild-mannered realism overflowing with humor and pathos. Along with Fray AngŽlico Ch‡vez, Su‡rez stands as arguably the mid-twentieth centuryÕs most important short story writer of Mexican descent. Chicano Sketches reclaims Su‡rez as a major figure of the genre and offers lovers of fine fiction a chance to rediscover this major talent.
Mexicana and Chicana authors from the late 1970s to the turn of the century helped overturn the patriarchal literary culture and mores of their time. This landmark volume acquaints readers with the provocative, at times defiant, yet subtle discourses of this important generation of writers and explains the influences and historical contexts that shaped their work. Until now, little criticism has been published about these important works. Addressing this oversight, Teaching Late-Twentieth-Century Mexicana and Chicana Writers starts with essays on Mexicana and Chicana authors. It then features essays on specific teaching strategies suitable for literature surveys and courses in cultural studies, Latino studies, interdisciplinary and comparative studies, humanities, and general education that aim to explore the intersectionalities represented in these works. Experienced teachers offer guidance on using these works to introduce students to border studies, transnational studies, sexuality studies, disability studies, contemporary Mexican history and Latino history in the United States, the history of social movements, and concepts of race and gender.
In Mexico, cuentos de fantasma are a popular form of literature combining fantasy, folktales, and pulp fiction. This is the first collection of such stories written by Mexican American writers.
The need for this book became apparent to Bruce-Novoa when he first taught a Chicano culture course in 1970. His students could find no source to satisfy their curiosity about Chicano writers' backgrounds, opinions, and attitudes. Chicano Authors: Inquiry by Interview provides that information. Fourteen leading Chicano authors respond to questions about their personal and educational backgrounds, their perception of the role of the Chicano writer, and their evaluation of the literary, linguistic, and sociocultural significance of Chicano literature. The authors included are José Antonio Villarreal, Rolando Hinojosa, Sergio Elizondo, Miguel Méndez M., Abelardo Delgado, José Montoya, Tomás Rivera, Estela Portillo, Rudolfo A. Anaya, Bernice Zamora, Ricardo Sánchez, Ron Arias, Tino Villanueva, and Alurista. Each interview is preceded by a brief introductory note which locates the author in the context of Chicano literature and provides a sense of his or her writing. Also included are a general introduction to Chicano literature, a chronological chart of publications by genre, and a selected bibliography. The volume will be an essential research tool for the student of Chicano literature and culture and a useful introduction for the general reader.
In Permissible Narratives: The Promise of Latino/a Literature, Christopher González explores the ways in which Latina/o authors dare to bend the possibilities of narrative form to their will, highlighting the double standard of narrative permissibility in U.S. literatures from within and outside of Latinidad.