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This Bridge Called My Back
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|Author||: ed Cherrie moraga|
|Editor||: Kitchen Table/Women of Color Press|
This groundbreaking collection reflects an uncompromised definition of feminism by women of color. 65,000 copies in print.
|Author||: Cherríe Moraga,Gloria Anzaldúa|
|Editor||: SUNY Press|
Updated and expanded edition of the foundational text of women of color feminism. Originally released in 1981, This Bridge Called My Back is a testimony to women of color feminism as it emerged in the last quarter of the twentieth century. Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, the complex confluence of identitiesrace, class, gender, and sexualitysystemic to women of color oppression and liberation. Reissued here, nearly thirty-five years after its inception, the fourth edition contains an extensive new introduction by Moraga, along with a previously unpublished statement by Gloria Anzaldúa. The new edition also includes visual artists whose work was produced during the same period as Bridge, including Betye Saar, Ana Mendieta, and Yolanda López, as well as current contributor biographies. Bridge continues to reflect an evolving definition of feminism, one that can effectively adapt to, and help inform an understanding of the changing economic and social conditions of women of color in the United States and throughout the world. Immense is my admiration for the ongoing dialogue and discourse on feminism, Indigenous feminism, the defining discussions in women of color movements and the broader movement. I have loved this book for thirty years, and am so pleased we have returned with our stories, words, and attributes to the growing and resilient movement. Winona LaDuke (Anishinaabe), Executive Director, Honor the Earth Praise for the Third Edition This Bridge Called My Back dispels all doubt about the power of a single text to radically transform the terrain of our theory and practice. Twenty years after its publication, we can now see how it helped to untether the production of knowledge from its disciplinary anchorsand not only in the field of womens studies. This Bridge has allowed us to define the promise of research on race, gender, class and sexuality as profoundly linked to collaboration and coalition-building. And perhaps most important, it has offered us strategies for transformative political practice that are as valid today as they were two decades ago. Angela Davis, University of California, Santa Cruz This Bridge Called My Back has served as a significant rallying call for women of color for a generation, and this new edition keeps that call alive at a time when divisions prove ever more stubborn and dangerous. A much-cited text, its influence has been visible and broad both in academia and among activists. We owe much of the sound of our present voices to the brave scholars and feminists whose ideas and ideals crowd its pages. Shirley Geok-lin Lim, University of California, Santa Barbara This book is a manifestothe 1981 declaration of a new politics US Third World Feminism. No great de-colonial writer, from Fanon, Shaarawi, Blackhawk, or Sartre, to Mountain Wolf Woman, de Beauvoir, Saussure, or Newton could have alone proclaimed this politic born of necessity. This politic denies no truths: its luminosities drive into and through our bodies. Writers and readers alike become shape-shifters, are invited to enter the shaman/witness state, to invoke power differently. US Third World Feminism requires a re-peopling: the creation of planetary citizen-warriors. This book is a guide that directs citizenry shadowed in hate, terror, suffering, disconnection, and pain toward the light of social justice, gender and erotic liberation, peace, and revolutionary love. This Bridge transits our dreams, and brings them to the real. Chela Sandoval, University of California, Santa Barbara
|Author||: Gloria Anzaldúa,AnaLouise Keating|
More than twenty years after the ground-breaking anthology This Bridge Called My Back called upon feminists to envision new forms of communities and practices, Gloria E. Anzaldúa and AnaLouise Keating have painstakingly assembled a new collection of over eighty original writings that offers a bold new vision of women-of-color consciousness for the twenty-first century. Written by women and men--both "of color" and "white"--this bridge we call home will challenge readers to rethink existing categories and invent new individual and collective identities.
|Author||: Cherríe Moraga,Celia Herrera Rodriguez|
|Editor||: Duke University Press|
DIVCollection of essays and poems that address the challenges of being a Chicana, a lesbian, and a feminist in the changing world of the twenty-first century./div
|Author||: Leandra Hinojosa Hernández,Robert Gutierrez-Perez|
|Editor||: Lexington Books|
This co-edited collection explores contemporary research studies, performative writing, poetry, Latina/o studies, and gender studies through the lens of Gloria Anzaldúa’s theories, methods, and concepts. These concepts include borderlands theories, nepantla, mestiza consciousness, the Coyolxauhqui Imperative, conocimiento, and spirituality.
|Author||: Cherríe Moraga|
|Editor||: Farrar, Straus and Giroux|
"This memoir's beauty is in its fierce intimacy." --Roy Hoffman, The New York Times Book Review One of Literary Hub's Most Anticipated Books of 2019 From the celebrated editor of This Bridge Called My Back, Cherríe Moraga charts her own coming-of-age alongside her mother’s decline, and also tells the larger story of the Mexican American diaspora. Native Country of the Heart: A Memoir is, at its core, a mother-daughter story. The mother, Elvira, was hired out as a child, along with her siblings, by their own father to pick cotton in California’s Imperial Valley. The daughter, Cherríe Moraga, is a brilliant, pioneering, queer Latina feminist. The story of these two women, and of their people, is woven together in an intimate memoir of critical reflection and deep personal revelation. As a young woman, Elvira left California to work as a cigarette girl in glamorous late-1920s Tijuana, where an ambiguous relationship with a wealthy white man taught her life lessons about power, sex, and opportunity. As Moraga charts her mother’s journey—from impressionable young girl to battle-tested matriarch to, later on, an old woman suffering under the yoke of Alzheimer’s—she traces her own self-discovery of her gender-queer body and Lesbian identity, as well as her passion for activism and the history of her pueblo. As her mother’s memory fails, Moraga is driven to unearth forgotten remnants of a U.S. Mexican diaspora, its indigenous origins, and an American story of cultural loss. Poetically wrought and filled with insight into intergenerational trauma, Native Country of the Heart is a reckoning with white American history and a piercing love letter from a fearless daughter to the mother she will never lose.
|Author||: Steven Seidman|
|Editor||: Cambridge University Press|
This book collects the most important statements of the postmodern theory, including the classics essays of authors such as Lyotard, Haraway, Foucault, and Rorty.
|Author||: Gloria Anzaldua|
|Editor||: Duke University Press|
Born in the Río Grande Valley of south Texas, independent scholar and creative writer Gloria Anzaldúa was an internationally acclaimed cultural theorist. As the author of Borderlands / La Frontera: The New Mestiza, Anzaldúa played a major role in shaping contemporary Chicano/a and lesbian/queer theories and identities. As an editor of three anthologies, including the groundbreaking This Bridge Called My Back: Writings by Radical Women of Color, she played an equally vital role in developing an inclusionary, multicultural feminist movement. A versatile author, Anzaldúa published poetry, theoretical essays, short stories, autobiographical narratives, interviews, and children’s books. Her work, which has been included in more than 100 anthologies to date, has helped to transform academic fields including American, Chicano/a, composition, ethnic, literary, and women’s studies. This reader—which provides a representative sample of the poetry, prose, fiction, and experimental autobiographical writing that Anzaldúa produced during her thirty-year career—demonstrates the breadth and philosophical depth of her work. While the reader contains much of Anzaldúa’s published writing (including several pieces now out of print), more than half the material has never before been published. This newly available work offers fresh insights into crucial aspects of Anzaldúa’s life and career, including her upbringing, education, teaching experiences, writing practice and aesthetics, lifelong health struggles, and interest in visual art, as well as her theories of disability, multiculturalism, pedagogy, and spiritual activism. The pieces are arranged chronologically; each one is preceded by a brief introduction. The collection includes a glossary of Anzaldúa’s key terms and concepts, a timeline of her life, primary and secondary bibliographies, and a detailed index.
|Author||: Gloria Anzaldúa|
Literary Nonfiction. Fiction. Latino/Latina Studies. African American Studies. Asian American Studies. Native American Studies. A bold collection of creative pieces and theoretical essays by women of color. New thought and new dialogue: a book that will teach in the most multiple sense of that word: a book that will be of lasting value to many diverse communities of women as well as to students from those communities. The authors explore a full spectrum of present concerns in over seventy pieces that vary from writing by new talents to published pieces by Audre Lorde, Joy Harjo, Norma Alarcón and Trinh T. Minh-ha. "At one level or another, all the work in the collection seeks to find ways to understand and articulate our multiple identities and senses of place.... MAKING FACE/MAKING SOUL is an exciting collection of dynamic, important writings that all women of color and white feminists will learn from, enjoy, and return to again and again and again."--Sojourner"...the pieces are stunning in what they risk and reveal..."--The San Francisco Chronicle
|Author||: Janell Hobson|
|Editor||: SUNY Press|
Provides a contemporary response to such landmark volumes as All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave and This Bridge Called My Back. More than thirty years have passed since the publication of All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave. Given the growth of women’s and gender studies in the last thirty-plus years, this updated and responsive collection expands upon this transformation of consciousness through multiracial feminist perspectives. The contributors here reflect on transnational issues as diverse as intimate partner violence, the prison industrial complex, social media, inclusive pedagogies, transgender identities, and (post) digital futures. This volume provides scholars, activists, and students with critical tools that can help them decenter whiteness and other power structures while repositioning marginalized groups at the center of analysis. “Are All the Women Still White? blends traditions of feminist-of-color struggle with the innovative insights of twenty-first-century thinkers, artists, and activists. For anyone engaged in inclusive, multi-issued work, this book is indispensable.” — Barbara Smith, Ain’t Gonna Let Nobody Turn Me Around: Forty Years of Movement Building with Barbara Smith
|Author||: M. Jacqui Alexander|
|Editor||: Duke University Press|
M. Jacqui Alexander is one of the most important theorists of transnational feminism working today. Pedagogies of Crossing brings together essays she has written over the past decade, uniting her incisive critiques, which have had such a profound impact on feminist, queer, and critical race theories, with some of her more recent work. In this landmark interdisciplinary volume, Alexander points to a number of critical imperatives made all the more urgent by contemporary manifestations of neoimperialism and neocolonialism. Among these are the need for North American feminism and queer studies to take up transnational frameworks that foreground questions of colonialism, political economy, and racial formation; for a thorough re-conceptualization of modernity to account for the heteronormative regulatory practices of modern state formations; and for feminists to wrestle with the spiritual dimensions of experience and the meaning of sacred subjectivity. In these meditations, Alexander deftly unites large, often contradictory, historical processes across time and space. She focuses on the criminalization of queer communities in both the United States and the Caribbean in ways that prompt us to rethink how modernity invents its own traditions; she juxtaposes the political organizing and consciousness of women workers in global factories in Mexico, the Caribbean, and Canada with the pressing need for those in the academic factory to teach for social justice; she reflects on the limits and failures of liberal pluralism; and she presents original and compelling arguments that show how and why transgenerational memory is an indispensable spiritual practice within differently constituted women-of-color communities as it operates as a powerful antidote to oppression. In this multifaceted, visionary book, Alexander maps the terrain of alternative histories and offers new forms of knowledge with which to mold alternative futures.
|Author||: Gloria E. Anzaldua|
Gloria E. Anzaldúa, best known for her books Borderlands/La Frontera and This Bridge Called My Back, is one of the foremost feminist thinkers and activists of our time. As one of the first openly lesbian Chicana writers, Anzaldúa has played a major role in redefining queer, female, and Chicano/a identities, and in developing inclusionary movements for social justice. In this memoir-like collection, Anzaldúa's powerful voice speaks clearly and passionately. She recounts her life, explains many aspects of her thought, and explores the intersections between her writings and postcolonial theory. Each selection deepens our understanding of an important cultural theorist's lifework. The interviews contain clear explanations of Anzaldúa's original concept of the Borderlands and mestizaje and her subsequent revisions of these ideas; her use of the term New Tribalism as a disruptive category that redefines previous ethnocentric forms of nationalism; and what Anzaldúa calls conocimientos-- alternate ways of knowing that synthesize reflection with action to create knowledge systems that challenge the status quo. Highly personal and always rich in insight, these interviews, arranged and introduced by AnaLouise Keating, will not only serve as an accessible introduction to Anzaldúa's groundbreaking body of work, but will also be of significant interest to those already well-versed in her thinking. For readers engaged in postcoloniality, feminist theory, ethnic studies, or queer identity, Interviews/Entrevistas will be a key contemporary document.
|Author||: Ko, Aph,Ko, Syl|
|Editor||: Lantern Books|
In this lively, accessible, and provocative collection, Aph and Syl Ko provide new theoretical frameworks on race, advocacy for nonhuman animals, and feminism. Using popular culture as a point of reference for their critiques, the Ko sisters engage in groundbreaking analysis of the compartmentalized nature of contemporary social movements, present new ways of understanding interconnected oppressions, and offer conceptual ways of moving forward expressive of Afrofuturism and black veganism.
|Author||: Cherríe Moraga,Cherríe L. Moraga|
"A jewel of a book by this celebrated Chicana lesbian writer chronicling 'one small human being's struggle for survival,' her 21/2-pound premature baby boy. While the specifics belong to Moraga and her loved ones, the tale is told in common with every woman who has experienced the wonder and terror of pregnancy, the trauma of a child's near-death."--BOOK JACKET.
|Author||: Héctor Calderón,José Saldívar,José David Saldívar,Fredric Jameson,Stanley Fish,Ramón Saldívar|
|Editor||: Duke University Press|
This pathbreaking anthology of Chicano literary criticism, with essays on a remarkable range of texts—both old and new—draws on diverse perspectives in contemporary literary and cultural studies: from ethnographic to postmodernist, from Marxist to feminist, from cultural materialist to new historicist. The editors have organized essays around four board themes: the situation of Chicano literary studies within American literary history and debates about the “canon”; representations of the Chicana/o subject; genre, ideology, and history; and the aesthetics of Chicano literature. The volume as a whole aims at generating new ways of understanding what counts as culture and “theory” and who counts as a theorist. A selected and annotated bibliography of contemporary Chicano literary criticism is also included. By recovering neglected authors and texts and introducing readers to an emergent Chicano canon, by introducing new perspectives on American literary history, ethnicity, gender, culture, and the literary process itself, Criticism in the Borderlands is an agenda-setting collection that moves beyond previous scholarship to open up the field of Chicano literary studies and to define anew what is American literature. Contributors. Norma Alarcón, Héctor Calderón, Angie Chabram, Barbara Harlow, Rolando Hinojosa, Luis Leal, José E. Limón, Terese McKenna, Elizabeth J. Ordóñez, Genero Padilla, Alvina E. Quintana, Renato Rosaldo, José David Saldívar, Sonia Saldívar-Hull, Rosaura Sánchez, Roberto Trujillo
|Author||: Daisy Hernandez,Daisy Hernández,Bushra Rehman,Seal Press|
|Editor||: Seal Press|
A collection of bold new writing by women of color introduces new themes of family and mixed ethnicity into the ongoing conversation about feminism and feminist values. Original.
|Author||: Kristen Hogan|
|Editor||: Duke University Press|
From the 1970s through the 1990s more than one hundred feminist bookstores built a transnational network that helped shape some of feminism's most complex conversations. Kristen Hogan traces the feminist bookstore movement's rise and eventual fall, restoring its radical work to public feminist memory. The bookwomen at the heart of this story—mostly lesbians and including women of color—measured their success not by profit, but by developing theories and practices of lesbian antiracism and feminist accountability. At bookstores like BookWoman in Austin, the Toronto Women’s Bookstore, and Old Wives’ Tales in San Francisco, and in the essential Feminist Bookstore News, bookwomen changed people’s lives and the world. In retelling their stories, Hogan not only shares the movement's tools with contemporary queer antiracist feminist activists and theorists, she gives us a vocabulary, strategy, and legacy for thinking through today's feminisms.
|Author||: AnaLouise Keating|
|Editor||: University of Illinois Press|
In this lively, thought-provoking study, AnaLouise Keating writes in the traditions of radical U.S. women-of-color feminist/womanist thought and queer studies, inviting us to transform how we think about identity, difference, social justice and social change, metaphysics, reading, and teaching. Through detailed investigations of women of color theories and writings, indigenous thought, and her own personal and pedagogical experiences, Keating develops transformative modes of engagement that move through oppositional approaches to embrace interconnectivity as a framework for identity formation, theorizing, social change, and the possibility of planetary citizenship. Speaking to many dimensions of contemporary scholarship, activism, and social justice work, Transformation Now! calls for and enacts innovative, radically inclusionary ways of reading, teaching, and communicating.