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Now in its second edition!COMING OF QUEER AGE IN PUERTO RICO: The Curse of Memory.The author chronicles the first seventeen years of his life in a small town in Puerto Rico. Joseph F. Delgado further examines how in Puerto Rico, as in most of Latin America, inflexible, ambivalent, hypocritical, religion-based conventions prevail in the debate on LGTBQ rights and political participation."The ethnography of harassment. I do not believe there is a book like this in Puerto Rico... This is an important book, or rather a book that matters." Efraín Barradas, 80grados."He tells it like it is. For anyone driven into the Latino gay diaspora, this is a painful read... Delgado exposes the dark side of Puerto Rico's hetero-normative culture with fierce bitterness as he identifies himself with that horribly negative experience... An autobiography different from all others." -Alfredo Villanueva, amazon.comA former professor of literature and linguistics, Joseph F. Delgado (Humacao, Puerto Rico, 1950) has written both fiction and non-fiction extensively in Spanish. His fiction in English includes Our Father Takes a Bride and the queer novella The Silence Barrier. His play Crushed at the Crossing or the Tyranny of Freedom was a finalist in the 2019 Downtown Urban Arts Festival.
COMING OF QUEER AGE IN PUERTO RICO: The Curse of Memory. The author chronicles the first seventten years of his life in a small town in Puerto Rico. Together with accounts of a childhood riddled with physical and verbal abuse Joseph F. Delgado analyzes the social macho-centric context in Latin America that makes it acceptable for men young and mature to have sex with boys without developing a homosexual identity and objectify passive sexual partners for contempt and ridicule. The author further examines how in Puerto Rico inflexible, religion-based conventions prevail in the debate on LGTBQ rights and political participation.
Seminar paper from the year 2011 in the subject American Studies - Literature, grade: 1,3, LMU Munich (Amerika-Institut), course: Ethnicity and American Identity in Contemporary Fiction, language: English, abstract: Esmeralda Santiago's When I Was Puerto Rican was her first autobiographic novel and it was the precursor of two following memoirs: Almost a Woman and The Turkish Lover. In When I Was Puerto Rican Santiago tells of her early childhood during the 1950s and '60s. The story told in the novel starts in Puerto Rico at Santiago's age of four up to the age of thirteen when she immigrates with her mother and her then six siblings to the US to live in Brooklyn, New York. Her memoir does not only show the difficulty of switching between two different cultures and mentalities, American and Puerto Rican, but it also portrays the coming of age process of a girl who has to find a balance between her individual desires and expectations of her surrounding world. The novel reveals the Santiago family's dealings with the pitfalls of poverty and their dreams of a better life. This family experiences life in all varieties: they are moving from the rural town of Macún to the urban area of Santurce, a district of Puerto Rico's capital San Juan. The family's destiny as a whole unity is yet only a framing plot. The novel illustrates the struggle of understanding the world from a child's perspective. In the case of young Esmeralda it is especially hard to understand the dynamics of her unmarried parents' relationship. For her it is a challenging rethinking process to learn how to tell from her parents' behavior, who is right and who is wrong. She also longs for appreciation called forth by sibling rivalry and the maternal responsibility for her younger sisters and brothers make Esmeralda question woman- and manhood, which eventually leads her to an inner rebellion. In When I Was Puerto Rican Santiago shares the beginning of her search for the intricate question of her
One of the Must-Read Books of 2019 According to O: The Oprah Magazine * Time * Bustle * Electric Literature * Publishers Weekly * The Millions * The Week * Good Housekeeping “There is more life packed on each page of Ordinary Girls than some lives hold in a lifetime.” —Julia Alvarez In this searing memoir, Jaquira Díaz writes fiercely and eloquently of her challenging girlhood and triumphant coming of age. While growing up in housing projects in Puerto Rico and Miami Beach, Díaz found herself caught between extremes. As her family split apart and her mother battled schizophrenia, she was supported by the love of her friends. As she longed for a family and home, her life was upended by violence. As she celebrated her Puerto Rican culture, she couldn’t find support for her burgeoning sexual identity. From her own struggles with depression and sexual assault to Puerto Rico’s history of colonialism, every page of Ordinary Girls vibrates with music and lyricism. Díaz writes with raw and refreshing honesty, triumphantly mapping a way out of despair toward love and hope to become her version of the girl she always wanted to be. Reminiscent of Tara Westover’s Educated, Kiese Laymon’s Heavy, Mary Karr’s The Liars’ Club, and Terese Marie Mailhot’s Heart Berries, Jaquira Díaz’s memoir provides a vivid portrait of a life lived in (and beyond) the borders of Puerto Rico and its complicated history—and reads as electrically as a novel.
Seminar paper from the year 2011 in the subject American Studies - Literature, grade: 1,3, LMU Munich (Amerika-Institut), course: Ethnicity and American Identity in Contemporary Fiction, language: English, abstract: Esmeralda Santiago’s When I Was Puerto Rican was her first autobiographic novel and it was the precursor of two following memoirs: Almost a Woman and The Turkish Lover. In When I Was Puerto Rican Santiago tells of her early childhood during the 1950s and ‘60s. The story told in the novel starts in Puerto Rico at Santiago’s age of four up to the age of thirteen when she immigrates with her mother and her then six siblings to the US to live in Brooklyn, New York. Her memoir does not only show the difficulty of switching between two different cultures and mentalities, American and Puerto Rican, but it also portrays the coming of age process of a girl who has to find a balance between her individual desires and expectations of her surrounding world. The novel reveals the Santiago family’s dealings with the pitfalls of poverty and their dreams of a better life. This family experiences life in all varieties: they are moving from the rural town of Macún to the urban area of Santurce, a district of Puerto Rico’s capital San Juan. The family’s destiny as a whole unity is yet only a framing plot. The novel illustrates the struggle of understanding the world from a child’s perspective. In the case of young Esmeralda it is especially hard to understand the dynamics of her unmarried parents’ relationship. For her it is a challenging rethinking process to learn how to tell from her parents’ behavior, who is right and who is wrong. She also longs for appreciation called forth by sibling rivalry and the maternal responsibility for her younger sisters and brothers make Esmeralda question woman- and manhood, which eventually leads her to an inner rebellion. In When I Was Puerto Rican Santiago shares the beginning of her search for the intricate question of her own sexuality. She unveils her solitary way to find femininity, how she had to find the answers to her questions all by herself, due to the omnipresent secretiveness about sexuality. Santiago explains how her younger self tried to unfold the mystery of her mother’s constant but unexplained warning of being casi señorita – almost a young lady. This memoir illustrates the transformation from an inexperienced girl to a teenager, who tries to define herself and figure out what she wants and expects from life.
In The Queer Coming of Age Film Genre, Brad Windhauser argues for the existence of this genre and, using a genre and queer theory lens, investigates how the initial, classic cluster of this genre’s films represent the unique issues experienced by queer people – including trans, non-binary, and intersex individuals - coming of age in society in the mid- to late 90s. As society evolved, the book posits, so too did the ways in which these films explored additional factors influencing the queer coming of age experience, such as race and economic status, in the genre’s second stage. Windhauser explores how this genre depicts the way queer people often engage with the coming-of-age process earlier than their cis-het peers, due to their queer identity, but also how this process can extend beyond adolescence into emerging adulthood and adulthood itself. Ultimately, the book demonstrates how these films have become a tool to both further political goals of queer advocacy and acceptance and to offer guidance to queer people looking to gain a deeper understanding of their own lives and experiences. Scholars of film studies, genre studies, pop culture, and queer studies will find this book of particular interest.
Exploring cultural expressions of Puerto Rican queer migration from the Caribbean to New York, Philadelphia, Chicago, and San Francisco, Lawrence La Fountain-Stokes analyzes how artists have portrayed their lives and the discrimination they have faced in both Puerto Rico and the United States. Highlighting cultural and political resistance within Puerto Rico’s gay, lesbian, bisexual, and transgender subcultures, La Fountain-Stokes pays close attention to differences of gender, historical moment, and generation, arguing that Puerto Rican queer identity changes over time and is experienced in very different ways. He traces an arc from 1960s Puerto Rico and the writings of Luis Rafael Sánchez to New York City in the 1970s and 1980s (Manuel Ramos Otero), Philadelphia and New Jersey in the 1980s and 1990s (Luz María Umpierre and Frances Negrón-Muntaner), and Chicago (Rose Troche) and San Francisco (Erika López) in the 1990s, culminating with a discussion of Arthur Avilés and Elizabeth Marrero’s recent dance-theater work in the Bronx. Proposing a radical new conceptualization of Puerto Rican migration, this work reveals how sexuality has shaped and defined the Puerto Rican experience in the United States.
Javi Toro overcomes social and financial hurdles to achieve noteworthy intellectual and professional accomplishments with the unfailing support of a loving partner. His pursuit of a better life takes him from an island in the Caribbean to the northeastern United States and, finally, the American west coast. Despite all his accomplishments, something always seems to prevent his arrival at a safe port.The Tango of the Shipwreck is a deeply moving tale of joyous love and sorrowful loss, the extended version of an intense tango that yearns for happiness as it mourns its absence.A novel by the author of the novel The Silence Barrier and the autobiographical Coming of Queer Age in Puerto Rico: The Curse of Memory, as well as the gay short-story collection Living in the Raw Wind.
A People magazine Best Book of Fall 2019 An Amazon Best Young Adult Book of 2019 "F***ing outstanding."--Roxane Gay, New York Times bestselling author Juliet Milagros Palante is a self-proclaimed closeted Puerto Rican baby dyke from the Bronx. Only, she's not so closeted anymore. Not after coming out to her family the night before flying to Portland, Oregon, to intern with her favorite feminist writer--what's sure to be a life-changing experience. And when Juliet's coming out crashes and burns, she's not sure her mom will ever speak to her again. But Juliet has a plan--sort of. Her internship with legendary author Harlowe Brisbane, the ultimate authority on feminism, women's bodies, and other gay-sounding stuff, is sure to help her figure out this whole "Puerto Rican lesbian" thing. Except Harlowe's white. And not from the Bronx. And she definitely doesn't have all the answers . . . In a summer bursting with queer brown dance parties, a sexy fling with a motorcycling librarian, and intense explorations of race and identity, Juliet learns what it means to come out--to the world, to her family, to herself.
*Winner of the Lambda Literary Award for Gay Memoir/Biography* An Honor Book for the 2023 Stonewall Book Award—Israel Fishman Non-Fiction Book Award This witty memoir traces a touching and often hilarious spiralic path to embracing a gay, Latinx identity against a culture of machismo—from a cockfighting ring in Nicaragua to cities across the U.S.—and the bath houses, night clubs, and drag queens who help redefine pride I’ve always found the definition of machismo to be ironic, considering that pride is a word almost unanimously associated with queer people, the enemy of machistas . . . In a world desperate to erase us, queer Latinx men must find ways to hold on to pride for survival, but excessive male pride is often what we are battling, both in ourselves and in others. A debut memoir about coming of age as a gay, Latinx man, High-Risk Homosexual opens in the ultimate anti-gay space: Edgar Gomez’s uncle’s cockfighting ring in Nicaragua, where he was sent at thirteen years old to become a man. Readers follow Gomez through the queer spaces where he learned to love being gay and Latinx, including Pulse nightclub in Orlando, a drag queen convention in Los Angeles, and the doctor’s office where he was diagnosed a “high-risk homosexual.” With vulnerability, humor, and quick-witted insights into racial, sexual, familial, and professional power dynamics, Gomez shares a hard-won path to taking pride in the parts of himself he was taught to keep hidden. His story is a scintillating, beautiful reminder of the importance of leaving space for joy.