Abstract
In this essay, an examination of gender and sexuality in contemporary Chican@performance and literary practices, I seek to situate myself as a Chicana ethno-critic, meaning not only an “ethnically” self-identified critic or a critic of “ethnic” discourse, but also engaging Arnold Krupat’s description of ethnocriticism as “a critical practice … freely choosing a commitment to the production of whatever narratives … may serve to tell the emerging story of culture change today and in the future.”1 My intention here is to probe the contours of the overdetermined sign of “the” border, showing it to be—showing how it can be (seen as)—a more porous, eroticized, embodied site. My focus in my bor-derologia —my “border research”—is the body, and more specifically how the female body is implicated and co-opted in the heteronormative project of both mainstream Anglo and some Chicano representations. I have also found, however, in the writings of women of color, especially those of Chicana lesbians, a deliberate reconfiguration of the border, a reclaiming and remapping of the margins as, to use bell hooks’s well-known phrase, “a site of resistance” in which the female body is neither fallen nor exalted, fragmented nor fetishized. I will return to this space, which I call fronterótica or borderotics, later.
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Notes
Arnold Krupat, Ethnocriticism: Ethnography, History, Literature (Berkeley and Los Angeles: University of California Press 1992), 126.
Guillermo Gómez-Peáa, Warrior for Gringostroika (Saint Paul, MN: Graywolf Press, 1993), 37.
Craig Owens, Beyond Recognition: Representation, Power, and Culture (Berkeley and Los Angeles: University of California Press, 1992), 194.
John Leguizamo, Mambo Mouth (New York: Bantam Books, 1993), 16.
Sandra Cisneros, Woman Hollering Creek and Other Stories (New York: Vintage Books, 1992), 68.
Still one of the most powerful, eloquent explorations of betrayal, of the Mal-intzin-Malinche legacy, and of the mother-daughter relationship is the section “Traitor Begets Traitor” (98–102) in Cherrie Moraga’s Loving in the War Years (Boston: South End Press, 1983). I thank Paul Allatson for reminding me of this.
Michelle Wallace, “Negative Images: Towards a Black Feminist Criticism,” in The Cultural Studies Reader ed. Simon During (London: Routledge, 1993), 130.
Alicia Gaspar de Alba, Beggar on the Córdoba Bridge, in Chicana Poetry: Three Times a Woman (Tempe, AZ: Bilingual Review/Press, 1989), 5.
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© 2003 Alicia Gaspar de Alba
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Chávez-Silverman, S. (2003). Gendered Bodies and Borders in Contemporary Chican@ Performance and Literature. In: de Alba, A.G. (eds) Velvet Barrios. New Directions in Latino American Cultures. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-04269-9_13
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DOI: https://doi.org/10.1007/978-1-137-04269-9_13
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-4039-6097-9
Online ISBN: 978-1-137-04269-9
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