Hot Best Seller

Borderlands/La Frontera: The New Mestiza

Availability: Ready to download

Author: Gloria E. Anzaldúa

Published: May 1st 1999 by Aunt Lute Books (first published 1987)

Format: Hardcover , 260 pages

Isbn: 9781879960572

Language: English


Compare

Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essa Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

30 review for Borderlands/La Frontera: The New Mestiza

  1. 5 out of 5

    Barry Pierce

    Anzaldúa’s most famous work, a collection of essays and poetry is a refreshing and important book. I read this for my Chicana literature course and it is by far the touchstone of Chicana studies. Anzaldúa writes very personal but powerful essays on what it means to be Chicana and what it’s like living in a country in which she is seen as a second or third class citizen. Her poetry is political but highly readable and perfectly complements the essays in this collection. I highly recommend this wo Anzaldúa’s most famous work, a collection of essays and poetry is a refreshing and important book. I read this for my Chicana literature course and it is by far the touchstone of Chicana studies. Anzaldúa writes very personal but powerful essays on what it means to be Chicana and what it’s like living in a country in which she is seen as a second or third class citizen. Her poetry is political but highly readable and perfectly complements the essays in this collection. I highly recommend this work, even if you have no interest in Chicano studies, it’s required reading.

  2. 5 out of 5

    Mona Kareem

    “Culture is made by those in power- men. Males make the rules and laws; women transmit them.” - Anzaldua, 16 This is really a great book that I will surely go back to over and over. There is a certain point that i find revolutionary and inspiring to me in this text. In the second chapter, Anzaldua navigates her position between a patriarchal culture and the white man’s violence. At page 22, Anzaldua mentions ‘sisters’ who glorify colored cultures to “offset the extreme devaluation of it by white “Culture is made by those in power- men. Males make the rules and laws; women transmit them.” - Anzaldua, 16 This is really a great book that I will surely go back to over and over. There is a certain point that i find revolutionary and inspiring to me in this text. In the second chapter, Anzaldua navigates her position between a patriarchal culture and the white man’s violence. At page 22, Anzaldua mentions ‘sisters’ who glorify colored cultures to “offset the extreme devaluation of it by white culture.” I personally struggle with navigating my position as an Arab woman who shares the same academic space with white culture. Before coming to the US, I have never met the white other and felt much comfortable criticizing and confronting the sexism, racism, and homophobia of my own culture. Such criticism, in an American space, becomes material for war propaganda, a way to patronize Arab women and use them as victims/weapons. It turns into some Islamophobic material. Feminists of color have been debating this question for years now; how can we have critiques of our cultures/communities when we are vulnerable to the white man’s gaze. Navigating our positions between two axes of oppression is a very difficult task that might be presented in a text like Borderlands, but does not seem feasible to me in everyday life. In Borderlands, Anzaldua sets up the path with her first chapter detailing a history of violence practiced by the white man against her people. Then she goes off to debate her homo/sexuality as a tool to challenge one’s culture. This shift between the two parts states an important point; that both cultures are patriarchal and have done violence to women’s bodies. Yet, women need to navigate between the two settings to protect the ‘self.’

  3. 5 out of 5

    Donald

    Oh well.

  4. 4 out of 5

    Tinea

    Gorgeous writing, crafting a way of seeing, experiencing, being in the world. Identity politics at its most rooted and important. The first half of this book is a critical theory essay on the epistemology (way of knowing) of a person whose very being is sin frontéras, crossing borders: Chicana, mestiza, queer, woman, class mobile and educated, critical. This first part devolves a little into esoteric musings I couldn't always grasp; reading, listening, but acknowledging that I didn't understand. Gorgeous writing, crafting a way of seeing, experiencing, being in the world. Identity politics at its most rooted and important. The first half of this book is a critical theory essay on the epistemology (way of knowing) of a person whose very being is sin frontéras, crossing borders: Chicana, mestiza, queer, woman, class mobile and educated, critical. This first part devolves a little into esoteric musings I couldn't always grasp; reading, listening, but acknowledging that I didn't understand. Sometimes, literally: Anzaldúa intersperses Spanish and many dialectic variants thereof throughout the text, and while the back of my book says "English readers will understand in context," I didn't much of the time. But the whole time the writing pulses with an urgency and a declaration to take it in as written-- the book doesn't ask readers to understand, it asks readers, particularly those whose identities root them in one or another side of any number of borders, to hear and listen and pay attention to their ignorance. What does it mean to feel destabilized, insecure, uncomprehending within the culture of a text? What does it mean to navigate these social and cultural geographies? Borderlands invites readers to experience the doubt and struggle of this movement, Anzaldúa's chosen, fluid words instead of her constant movement to meet each dominant culture in its own space. This book just feels significant, like learning a lesson. The second half is poetry, and evoked opposite feelings. Clear, sharp, crystal poetry. Here Anzaldúa writes in narrative, says what she means in language that communicates without leaving room for doubt.

  5. 5 out of 5

    a.novel.femme

    i have read, am reading, and will continue to read this text as part of preparing for my masters exam in literature. specifically, i am looking at the borderland that anzaldua speaks of as a place of passing (racial, sexual, class) for individuals, and what it means to constantly exist in that space, without a homeland to move toward or away from. anzalduas prose and poetry are both symbolic and dense; parts of the book are written in spanish, and my understanding of the language is embarrassing i have read, am reading, and will continue to read this text as part of preparing for my masters exam in literature. specifically, i am looking at the borderland that anzaldua speaks of as a place of passing (racial, sexual, class) for individuals, and what it means to constantly exist in that space, without a homeland to move toward or away from. anzalduas prose and poetry are both symbolic and dense; parts of the book are written in spanish, and my understanding of the language is embarrassingly bad. her analysis of mestiza consciousness coupled with the invocation to feminism are rich, as is her attempt to explain the frustrations of speaking a language that also exists in the borderland, a mixture of spanish and english and other languages, and the ensuing condescension from others who speak so-called "pure" languages. i highly suggest reading her in conjunction with frantz fanon and trinh t. min-ha; it seems a random mix of theorists, but there is much they have to say about the power of language and the formation of cultural identities.

  6. 4 out of 5

    Sumayyah

    “Borderlands/La Frontera: The New Mestiza” by Gloria Anzaldúa is a HIGHLY recommended book for anyone interested in indigenous religion, gender studies, the history of the Southwestern United States, the history of the Chicano people, and ALL women of color. Some passages that resound: A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. The world is not a safe place to live in. We shiver in separate cells in enclosed cities, shoulders hunched, b “Borderlands/La Frontera: The New Mestiza” by Gloria Anzaldúa is a HIGHLY recommended book for anyone interested in indigenous religion, gender studies, the history of the Southwestern United States, the history of the Chicano people, and ALL women of color. Some passages that resound: A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. The world is not a safe place to live in. We shiver in separate cells in enclosed cities, shoulders hunched, barely keeping the panic below the surface of the skin, daily drinking shock along with our morning coffee, fearing the torches being set to our buildings, the attacks in the streets. Shutting down. Woman does not feel safe when her own culture, and white culture, are critical of her; when the males of all races hunt her as prey. Institutionalized religion fears trafficking with the spirit world and stigmatizes it as witchcraft. It has strict taboos against this kind of inner knowledge. It fears what Jung calls the Shadow, the unsavory aspects of ourselves. But even more it fears the supra-human, the god in ourselves. Those who are pushed out of the tribe for being different are likely to become more sensitized (when not brutalized into insensitivity). Those who do not feel psychologically or physically safe in the world are more apt to develop this sense. Those who are pounced on the most have it the strongest – the females, the homosexuals of all races, the darkskinned, the outcast, the persecuted, the marginalized, the foreign. I remember being caught speaking Spanish at recess – that was good for three licks on the knuckles with a sharp ruler. I remember being sent to the corner of the classroom for “talking back” the the Anglo teacher when all I was trying to do was tell her how to pronounce my name. “If you want to be American, speak ‘American.’ If you don’t like it, go back to Mexico where you belong.” Ethnic identity is twin skin to linguistic identity – I am my language. Until I can take pride in my language, I cannot take pride in myself. “You’re nothing but a woman” means you are defective. Its opposite is to be un macho. The modern meaning of the word “machismo,” as well as the concept, is actually an Anglo invention. For men like my father, being “macho” meant being strong enough to protect and support my mother and us, yet being able to show love. Today’s macho has doubts about his ability to feed and protect his family. His “machismo” is an adaption to oppression and poverty and low self-esteem. But don’t take my word for it. Get it, read it. If you’re anything like me, you’ll need to buy the book simply because it cries out for the kiss of a highlighter and caress of a pencil. ... because Sumayyah Said So.

  7. 4 out of 5

    Ruthie Jones

    This book appeals to me on an anthropological level (it brought back a lot of memories of my cultural anthropology classes). The author, however, goes above and beyond to explain (defend?) her culture while maintaining an accusatory tone towards European-American (white) culture. This type of writing is neither unique nor unexpected, so the author's attitude doesn't bother or surprise me. Studying anthropology has definitely made me aware of the pitfalls of ethnocentrism as well as the joys of l This book appeals to me on an anthropological level (it brought back a lot of memories of my cultural anthropology classes). The author, however, goes above and beyond to explain (defend?) her culture while maintaining an accusatory tone towards European-American (white) culture. This type of writing is neither unique nor unexpected, so the author's attitude doesn't bother or surprise me. Studying anthropology has definitely made me aware of the pitfalls of ethnocentrism as well as the joys of learning about other cultures. The author does heavily sprinkle Spanish into this work, which can be intimidating if the reader is completely unfamiliar with that language (could be off-putting or alienating for some). A great thing this book offers is an insider's view of a rich and beautiful culture. This culture is not totally unknown to me since I have lived near the South Texas/Mexico borderland all my life, so I enjoyed the familiarity of that particular aspect of the book.

  8. 4 out of 5

    Katie McCleary

    For the mid-80s thinking and theory about the intersection of culture, race, and feminism--this book is radical. A bible to understanding what it means to live in a borderland... a fast read, engaging, but VERY thought provoking. the form mixes, Spanish/Chicanoism, poetry, prose, theory, academia, and the essay- Anzaldua continually disrupts you and the text, always evolving the question of identity.

  9. 4 out of 5

    Bart

    Borderlands/La Frontera is supposed to be an important Latina feminist work, and I'm sure it was groundbreaking when it came out and important to many people now. I didn't really enjoy the poetry (half the book) or the experimental writing forms (a good part of the other half). I really enjoyed some parts of the book, such as Gloria Anzaldua's discussions on languages "we" speak and sexuality, but being bored by seventy percent of the book did not really leave me with a great impression.

  10. 5 out of 5

    Sara Salem

    This book is one of the classics in feminist decolonial theory. It's a beautiful story about Anzaldua's life as a Chicana growing up near the US-Mexico border. I could relate to what she says about mixed races and borders and identity. But somehow I found it difficult to agree with her on culture. Blanket generalizations about culture being bad never sit well with me since we are never outside of culture, and so presumably good and bad both come from culture.

  11. 5 out of 5

    Miguel

    It's hard to "review" something this good, this special, this singular. It also seems unnecessary. After all, this is a germinal, oft referenced, essential book for reasons that quickly become self-evident after opening its pages. But I can offer a sentence or two, despite sounding like ad copy. What Anzaldúa offers here, among other things, is a powerful weaving of psychoanalysis with a meditation of the radical heterogeneity of identities and experiences organized under the rubrics of indigeno It's hard to "review" something this good, this special, this singular. It also seems unnecessary. After all, this is a germinal, oft referenced, essential book for reasons that quickly become self-evident after opening its pages. But I can offer a sentence or two, despite sounding like ad copy. What Anzaldúa offers here, among other things, is a powerful weaving of psychoanalysis with a meditation of the radical heterogeneity of identities and experiences organized under the rubrics of indigenous, Chicana, and queer. This is a text about a new way of life that involves accepted the repressed and rejected, and a cessation of the cycle of repression and rejection. It is a text about living with contradiction, paradox, and ambiguity. In Anzaldúa's own words: Her first step is to take inventory. Despojando, desgranando, quitando paja. Just what did she inherit from her ancestors? This weight on her back—which is the baggage from the Indian mother, which the baggage from the Spanish father, which the baggage from the Anglo? Pero es dificil differentiating between lo heredado, lo adquirido, lo impuesto. She puts history through a sieve, winnows out the lies, looks at the forces that we as a race, as women, have been part of. Luego bota lo que no vale, los desmientos, los desencuentos, el embrutecimiento. Aguarda el juicio, hondo y enraízado, de la gente antigua. This step is a conscious rupture with all oppressive traditions of all cultures and religions. She communicates that rupture, documents the struggle. She reinterprets history and, using new symbols, she shapes new myths. She adopts new perspectives toward the darkskinned, women and queers. She strengthens her tolerance (and intolerance) for ambiguity. She is willing to share, to make herself vulnerable to foreign ways of seeing and thinking. She surrenders all notions of safety, of the familiar. Deconstruct, construct. She becomes a nahula, able to transform herself into a tree, a coyote, into another person. She learns to transform the small "I" into the total Self. Se hace moldeadora de su alma. Según la concepción que tiene de sí misma así será.

  12. 4 out of 5

    Lisa Kentgen

    The primary reason this gets five stars is its importance -- in the 80s when it was written and even moreso now. It was a groundbreaking classic then (especially for people who identified as chicana and/or lesbian) and, I think, absolutely needs to be read by a larger audience now. Gloria Anzaldua writes about the experience of inhabiting multiple identities (chicana, male/female, lesbian, mexican, indigenous, texan) and the challenge of moving in multiple worlds (at times all most have rejected The primary reason this gets five stars is its importance -- in the 80s when it was written and even moreso now. It was a groundbreaking classic then (especially for people who identified as chicana and/or lesbian) and, I think, absolutely needs to be read by a larger audience now. Gloria Anzaldua writes about the experience of inhabiting multiple identities (chicana, male/female, lesbian, mexican, indigenous, texan) and the challenge of moving in multiple worlds (at times all most have rejected all that she represents). Importantly, she challenges the notion of border. (And further educates on the US history of oppression in a way that has still not been acknowledged by the dominant culture.) Her prose is wise, her poetry visceral and powerful. This book is important in understanding the experience of the marginalized. And, as importantly, it is important for everyone/all of us who - even when our identities aren't at 'the border' - have been influenced by a culture to fit in and be less than our fully authentic selves. The book is interspersed with Spanish and English. I understand enough Spanish to speak like a toddler, so much of the impact of the Spanish words was lost on me. I translated some of it. But, mostly, I read aloud the words, understanding every 2nd word. There was something about speaking the words, even when I didn't understand them, that helped me participate more in this important book.

  13. 5 out of 5

    Laura

    Wild, formidable, preoccupied with Kristevian semiotics. Gloria Anzaldua ambitiously discusses how la mestiza must straddle three cultures: American, Mexican, and Indigenous, and asserts that what is needed is a "tolerance for ambiguity" and an internalization of the mulitplicity of female selves. She describes this internalization as an internalization of the attributes of the Nahua Goddess, Coatlicue. A very sensual, politically and socially conscious book.

  14. 4 out of 5

    Monica

    Truly one of the most influential reads during my doctoral studies!

  15. 4 out of 5

    Veronica

    Having finished the first portion of the book (as the rest is poetry), I can say that I quite enjoyed it. The book reads like a monologue, something I believe Anzaldua intended. She stated that she's an adamant believers in writing truths and I was struck with how blatantly open her words were and how much they hit home. I don't refer to myself as a Chicana (as my Word Processor underlines chicana as a misspelled word, substituting it for Chicano, I'm remind of Anzaldua's passage "Chicanas use n Having finished the first portion of the book (as the rest is poetry), I can say that I quite enjoyed it. The book reads like a monologue, something I believe Anzaldua intended. She stated that she's an adamant believers in writing truths and I was struck with how blatantly open her words were and how much they hit home. I don't refer to myself as a Chicana (as my Word Processor underlines chicana as a misspelled word, substituting it for Chicano, I'm remind of Anzaldua's passage "Chicanas use nosotros whether we're male or female. We are robbed of our female being by the masculine plural. Language is a male discourse", I find myself laughing at the irony). The word Chicana always held a political quality to it, something that I felt I did not possess, so I called myself Latina (for the lack of a better term). I'm not one for labeling. I'd call myself a citizen of the Earth, but alas, that's too broad of a term especially for those who inquire about my specific heritage. It's funny because I related to much of what she said but I also found myself excluded from a lot as well. "'Pocho, cultural traitor, you're speaking the oppressor's language by speaking English, you're ruining the Spanish language.' I have been accused by various Latinos and Latinas." That passage hit home. Too close for comfort actually. My first language was Spanish so I feel like there was no excuse for me not to be proficient in it. But my parent's (dad arriving at 16 and mom when she was just a baby to the U.S) already used this Chicano-Spanish Anzaldua talked about. I grew up speaking broken Spanish. As I grew up I began to realize how horrid my Spanish actually was and because I felt so self-conscious about it, I refrained form using it often. Now I fear it is quite atrocious. I get red-faced whenever I speak with my grandma and/or elders because I feel ashamed. I can't help but think that as I speak to them in my broken Spanish that they feel sorry for me. That passage both relate's and doesn't to what Anzaldua meant. Anzaldua embraced it and I shunned it. Actually, I feel like my english is still inadequate, especially when talking to Anglo's and now I don't feel right in either language. I quite appreciate that Anzaldua wrote in the way that she felt most comfortable in (damn those who told her otherwise) and hopefully one day I'll be able to find the language I feel comfortable in too.

  16. 4 out of 5

    Claudia

    Cuál es la historia que debemos construir? Cómo construimos esa historia? Quién debe contarla? Qué idioma? Qué es el idioma? La tinta es el camino para deconstruir la cultura o construirla? La imagen de la mujer se traduce en un nuevo cuerpo que reclama un nuevo lugar. Which is the History that we should build? How do we build that History? Who should tell the History? Which language? What is language? Black ink as a way to deconstruct culture or build it? The image of women is translated into a n Cuál es la historia que debemos construir? Cómo construimos esa historia? Quién debe contarla? Qué idioma? Qué es el idioma? La tinta es el camino para deconstruir la cultura o construirla? La imagen de la mujer se traduce en un nuevo cuerpo que reclama un nuevo lugar. Which is the History that we should build? How do we build that History? Who should tell the History? Which language? What is language? Black ink as a way to deconstruct culture or build it? The image of women is translated into a new body that claim for a new place.

  17. 4 out of 5

    Jessica

    Exhausting. A lot of it resonated with me so much that I found myself rereading certain passages immediately, which frankly is more work than I usually put into my leisure reading. That's also probably why it took me 5 months to finish!

  18. 4 out of 5

    Abigail

    I read the second edition of this book for a Latina/o Studies class in college, and found it such a powerful experience that I began pushing it on all my friends. One of them finally took me up on my offer to borrow it, and predictably, it is now lost somewhere in Mumbai! A collection of essays and poems, written in both English and Spanish, Borderlands/La Frontera was a ground-breaking book that helped pave the way for the concept of "border studies." Brilliant, and at time bitter, it explores t I read the second edition of this book for a Latina/o Studies class in college, and found it such a powerful experience that I began pushing it on all my friends. One of them finally took me up on my offer to borrow it, and predictably, it is now lost somewhere in Mumbai! A collection of essays and poems, written in both English and Spanish, Borderlands/La Frontera was a ground-breaking book that helped pave the way for the concept of "border studies." Brilliant, and at time bitter, it explores the border as a psychological construct, in which different strands of identity meet, and frequently clash. The physical border, in Anzaldua's case, is the U.S./Mexico border in Texas. But equally important, and equally real for the author, are the cultural, gender, and sexual boundaries that intersect her life. As a Tejana, Chicana, American, woman, feminist, and lesbian, Anzaldua has quite a few conflicting identities to try and reconcile, and her documentation of their not-so-peaceful co-existence makes for moving and, at times, uncomfortable reading. As a straight, Anglo (a term that I don't necessarily accept, but will use here for simplicity) woman, I was amazed at how directly some of Anzaldua's narrative spoke to my own life experiences. I can recall moments of almost breathless wonder, as I read passages that finally gave voice to inchoate thoughts and feelings, vaguely-sensed but never expressed. This, I feel, is the author's true strength: her narrative voice, in the expression of her own experiences. As a theorist and educator, I am not so sure. I've heard some stories about her classroom that make me glad I was never her student...

  19. 5 out of 5

    Rachel

    Gloria Anzaldua is a borderland. She sticks to no confines because "rigidity is death." She knows who she is and she knows that she is ever changing. She knows her culture, she knows her history, and she knows her biography. In Borderlands/La Frontera, feminist Chicana Anzaldua uses several forms of writing (fiction, poetry, social history) to share with the world her culture. Through code-switching, she writes about what it means to be Mexican, American, and Native American. She explores how the Gloria Anzaldua is a borderland. She sticks to no confines because "rigidity is death." She knows who she is and she knows that she is ever changing. She knows her culture, she knows her history, and she knows her biography. In Borderlands/La Frontera, feminist Chicana Anzaldua uses several forms of writing (fiction, poetry, social history) to share with the world her culture. Through code-switching, she writes about what it means to be Mexican, American, and Native American. She explores how the Treaty of Guadelupe-Hidalgo, which created the border between Mexico and America, changed her life and created her culture. Anzaldua grew up on the Rio Grande in Texas, the actual border of the US. She lived with people who were once Mexican but then forced into America. They lost their country, they lost their culture, and although they became Americans, they weren't accepted as such. Thus came the creation of the Chicano/a, a border culture with their own language, their own ideals etc. Anzaldua is an extraordinarily spiritual person, and that is evident in her writing. As are her feminist views and queer identity. She lays everything out on the line. She writes a novel about a culture that's often not heard from, not seen--marginalized and trivialized. Yet, with this novel, she gives them a voice--she gives them an identity. "I will have my voice," she says. And she does.

  20. 5 out of 5

    M.

    A buck toothed kid who grows up in a mixed working class family with a Mexican dad she only sees on Mondays for most of her life falls in love with cyborgs and years later comes across this book at the tail end of a bereft and difficult two years where she's been too sad and overcome with anger at the world to find anything in it to ground herself. Roses and serpents and la Virgen de Guadalupe and spanish words and spirit language and dark stillness. This continent we walk on has a history as ol A buck toothed kid who grows up in a mixed working class family with a Mexican dad she only sees on Mondays for most of her life falls in love with cyborgs and years later comes across this book at the tail end of a bereft and difficult two years where she's been too sad and overcome with anger at the world to find anything in it to ground herself. Roses and serpents and la Virgen de Guadalupe and spanish words and spirit language and dark stillness. This continent we walk on has a history as old as the early Japanese empires and Chinese dynasties, and isn't it nice to be revived to the fact that the world is older and richer than your European ancestors wanted you to (not) know. "Be a crossroads" makes all the sense in the world. The whole book is underlined. Excitedly, she says to another mixed friend of hers, cyborgs and mestizaje are the same thing, and the friend agrees. In an anime, this would be the closing stillframe, and the word "hope" appears in a soft fade. "I will not be shamed again Nor will I shame myself."

  21. 4 out of 5

    Kathleen

    This book is important for many people. However, I am not one of those people. As much as I want to wholeheartedly endorse Anzaldúa, I just can't. There are some great ideas in this book--but they're all inextricably tied up with essentialist claims about gender, race, and ethnicity. To read and use Anzaldúa, one has to take on her biological metaphysics and spirituality. And I just can't take those things on. I don't believe that Indian blood is different from any other human's blood. I don't t This book is important for many people. However, I am not one of those people. As much as I want to wholeheartedly endorse Anzaldúa, I just can't. There are some great ideas in this book--but they're all inextricably tied up with essentialist claims about gender, race, and ethnicity. To read and use Anzaldúa, one has to take on her biological metaphysics and spirituality. And I just can't take those things on. I don't believe that Indian blood is different from any other human's blood. I don't think it has magical properties. And I don't in anyway think it's linked up to identity, which I understand as socially constructed. So, while this is an interesting book, it's ultimately not that useful to me as a political theorist nor as a teacher.

  22. 5 out of 5

    Joanna Eleftheriou

    HowOhHowOhHowOhHow did I make it this long without reading this book? It would feel weird to say I love it, it's that close... I always felt like chicana mestizas were talking about me, the greek-gringo mestiza... it all sounds right... but WHAT GENRE IS IT? It doesn't read like your typical essay or memoir. LOTS OF EXPOSITION (which I adore, but which usually gets nailed in workshop). So what is this book? Why do we care? Because we are writing a comps essay, first of all and second of all, bec HowOhHowOhHowOhHow did I make it this long without reading this book? It would feel weird to say I love it, it's that close... I always felt like chicana mestizas were talking about me, the greek-gringo mestiza... it all sounds right... but WHAT GENRE IS IT? It doesn't read like your typical essay or memoir. LOTS OF EXPOSITION (which I adore, but which usually gets nailed in workshop). So what is this book? Why do we care? Because we are writing a comps essay, first of all and second of all, because when I write stuff like this people ask me what I was "trying" to do. So let me know. What is Anzaldua "trying to do"?

  23. 4 out of 5

    Cristina

    This book was amazing. I can't believe I barely discovered it last semester. She is so brilliant! I hate that I discovered her after she passed away. I wish I would have had the chance to meet her. There are so quotes in this book that I love. She really captures what it is like to embrace all the pieces of yourself even though society is constantly telling you to choose. She captures what its like when even people within your own ethnic group who claim they understand turn around and tell you t This book was amazing. I can't believe I barely discovered it last semester. She is so brilliant! I hate that I discovered her after she passed away. I wish I would have had the chance to meet her. There are so quotes in this book that I love. She really captures what it is like to embrace all the pieces of yourself even though society is constantly telling you to choose. She captures what its like when even people within your own ethnic group who claim they understand turn around and tell you that you are not enough for that culture.

  24. 4 out of 5

    Wendy Trevino

    re-reading in 2016. hope to review soon.

  25. 5 out of 5

    Mary

    I think I could read this book 10 more times and still learn more.

  26. 5 out of 5

    Hafsa | حفصہ

    The BookBum Club: Sept theme - Back To School – Reread a "required reading" book you read in school / Read a book that's on school curriculums / Reread a book you read while attending school. Currently, I don't have the time and energy to form coherent reviews because college takes all my time but I'm glad my teacher included this as a reading for my writing class! Such thoughtful, mystical prose and poetry as well as highly charged content on language, race and ethnicity to read. Highly recommen The BookBum Club: Sept theme - Back To School – Reread a "required reading" book you read in school / Read a book that's on school curriculums / Reread a book you read while attending school. Currently, I don't have the time and energy to form coherent reviews because college takes all my time but I'm glad my teacher included this as a reading for my writing class! Such thoughtful, mystical prose and poetry as well as highly charged content on language, race and ethnicity to read. Highly recommend chapter 6 for anyone who has ever written anything because it was beyond relatable for me as a writer! I loved the inclusion of Spanish but admittedly at times I was frustrated that I couldn't understand some poems and the full meaning of the prose. Nevertheless, once you read this, you'll understand why it was so important for the author to write a bilingual book. ~ proper RTC.

  27. 4 out of 5

    Christina1805

    Not fun to read. But I do see how she inspired so many 'border people'.

  28. 5 out of 5

    a.m. kozak

    The prose is interesting at times, but the poetry is cliche and overwrought to the extent that it taints the entire book, significantly downgrading my ability to appreciate it. It's probably no mistake that criticism on the book focuses almost entirely on the prose and ignores the poetry, but the poetry makes up a significant portion of the book, so how can you completely ignore it? When I've brought this up to people in the past, they made it seem like, because I chose to focus on the poetry, I The prose is interesting at times, but the poetry is cliche and overwrought to the extent that it taints the entire book, significantly downgrading my ability to appreciate it. It's probably no mistake that criticism on the book focuses almost entirely on the prose and ignores the poetry, but the poetry makes up a significant portion of the book, so how can you completely ignore it? When I've brought this up to people in the past, they made it seem like, because I chose to focus on the poetry, I simply didn't 'get' the book. Would've been better if they were separated as two different publications, in my opinion.

  29. 4 out of 5

    Chris

    While this is, for me, someone not interested in the topic of mestiza/Mexican culture, not a good read, I will say this should be a standard for anyone studying racial stuff in university. It talks a lot about passing, a lot about conquering passing, and gives SUCH GOOD INFORMATION that you can use in almost all manner of essays involving race. I have applied this book to just about everything and it has worked flawlessly. It's worth it if you're in the collegiate and essaying realm. Outside, it While this is, for me, someone not interested in the topic of mestiza/Mexican culture, not a good read, I will say this should be a standard for anyone studying racial stuff in university. It talks a lot about passing, a lot about conquering passing, and gives SUCH GOOD INFORMATION that you can use in almost all manner of essays involving race. I have applied this book to just about everything and it has worked flawlessly. It's worth it if you're in the collegiate and essaying realm. Outside, it's just a bore.

  30. 4 out of 5

    Tina

    2.5. I liked some parts of this, but overall I was unimpressed, especially with the poetry. Maybe I shouldn't automatically compare it to Cherie Moraga's LOVING IN THE WAR YEARS, but since those two are considered THE texts about Latinas and border identity, I will: I liked Moraga's work much, much better. But maybe I need to reread this.

Add a review

Your email address will not be published. Required fields are marked *

Loading...
We use cookies to give you the best online experience. By using our website you agree to our use of cookies in accordance with our cookie policy.