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By Louis Gerard Mendoza
A dialogue of the character of ethnic id within the Mexican American neighborhood. the writer argues that literature has been quite wealthy in exploring topics of strength and domination, and takes a glance at either ancient and creative literatures and their position in forming ethnic identification.
Read or Download Historia: The Literary Making of Chicana & Chicano History (Rio Grande Rio Bravo: Borderlands Culture and Traditions, 7) PDF
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Extra info for Historia: The Literary Making of Chicana & Chicano History (Rio Grande Rio Bravo: Borderlands Culture and Traditions, 7)
Sample text
This section will look at the construction of Mexican identity and agency by Tomás Rivera and Gómez-Quiñones. Rivera’s attempt to resolve the problem of alienation in the life of Chicanas/os by inspiring them with a historical consciousness of their oppressive conditions links him politically with the writers of the movimiento era. However, his vision of intellectual leadership for deterritorialized people is fraught with contradiction, as it is articulated in Tierra’s simultaneous presentation of a modernist utopian vision and postmodern dystopia.
One of the most popular and controversial novels that took the Movement in Southern California as its subject was Oscar Zeta Acosta’s The Revolt of the Cockroach People. Carlos Muñoz’s history of the movement, Youth, Identity and Power: The Chicano Movement, is a provocative counter/complementary narrative to take into consideration for modes of self-representation. Both Muñoz’s and Oscar Acosta’s ability to represent the activists and activism as well as the political conditions in which they were working is complicated by their involvement in the Chicano Movement.
Literary historians Genaro Padilla, Rosaura Sánchez, Erlinda González-Berry, Tey Diana Rebolledo, and Juanita Luna Lawhn, among others, have recovered and rediscovered narratives, letters, and at least one late-nineteenth-century novel (The Squatter and the Don by Amparo Ruiz de Burton), that have challenged accepted notions about the literary production of people of Mexican descent in the United States. 3 In , Arte Público Press published George Washington Gómez; Américo Paredes wrote the novel in the s but did not, at least initially, attempt to publish it due to the hostile social conditions in South Texas during the first half of the century.