Podcasts about anzald

This month the Reverend Ron Padrón joins me to discuss Light in the Dark/Luz en lo Oscuro by Gloria E. Anzaldúa, author and Chicana and feminist activist. Ron and I discuss how this book has influenced his own work as a writer, editor and practitioner and what this read through brought up. We also talk about Anzaldúa's life and legacy and how her work and this book in particular can help offer perspective on the current moment.Next month, Via Hedera and I will be discussing Lillian Morrison's 1958 book Touch Blue, which is available on Open Library.To find out more about Ron's work, read the online zine, and more, check out his website. You can also follow him on BlueSky @wrwitching.bsky.social. Serpents of Circe, co-edited by Ron, is available to purchase wherever you buy books or directly from Revelore Press.ranscripts of all episodes are available at witchlitpod.com. You can follow us on BlueSky @witchlitpod.bsky.social.Support WitchLit by using our affiliate link to purchase books from Bookshop.org or buy us a coffee on Ko-fi. Please follow us on BlueSky for episode updates.Death in the Dry River, a crime novella set in 1930s colonial Trinidad, by Lisa Allen-Agostini is out now and available to order wherever you buy books or direct from 1000Volt Press.The award-winning books Changing Paths by Yvonne Aburrow and Conjuring the Commonplace by Laine Fuller & Cory Thomas Hutcheson are both available from 1000Volt Press or to order wherever you buy books.My book, Verona Green, is available in all the usual places. Autographed copies are also available from 1000Volt Press.

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University.

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Code Work: Hacking Across the US/México Techno-Borderlands (Princeton UP, 2023), Héctor Beltrán examines Mexican and Latinx coders' personal strategies of self-making as they navigate a transnational economy of tech work. Beltrán shows how these hackers apply concepts from the code worlds to their lived experiences, deploying batches, loose coupling, iterative processing (looping), hacking, prototyping, and full-stack development in their daily social interactions—at home, in the workplace, on the dating scene, and in their understanding of the economy, culture, and geopolitics. Merging ethnographic analysis with systems thinking, he draws on his eight years of research in México and the United States—during which he participated in and observed hackathons, hacker schools, and tech entrepreneurship conferences—to unpack the conundrums faced by workers in a tech economy that stretches from villages in rural México to Silicon Valley. Beltrán chronicles the tension between the transformative promise of hacking—the idea that coding will reconfigure the boundaries of race, ethnicity, class, and gender—and the reality of a neoliberal capitalist economy divided and structured by the US/México border. Young hackers, many of whom approach coding in a spirit of playfulness and exploration, are encouraged to appropriate the discourses of flexibility and self-management even as they remain outside formal employment. Beltrán explores the ways that “innovative culture” is seen as central in curing México's social ills, showing that when innovation is linked to technological development, other kinds of development are neglected. Beltrán's highly original, wide-ranging analysis uniquely connects technology studies, the anthropology of capitalism, and Latinx and Latin American studies. Mentioned in this episode, among others: Anzaldúa, G. (1987). Borderlands / La Frontera: The New Mestiza. Aunt Lute Books. Hong, G. K., & Ferguson, R. A. (Eds.). (2011). Strange Affinities: The Gender and Sexual Politics of Comparative Racialization. Duke University Press. Coleman, E. G. (2012). Coding Freedom: The Ethics and Aesthetics of Hacking. Princeton University Press. Héctor Beltrán is Class of 1957 Career Development Assistant Professor of Anthropology at MIT, where he teaches “Cultures of Computing,” “Hacking from the South,” and “Latin American Migrations.” Liliana Gil is Assistant Professor of Comparative Studies (STS) at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Alyssa: [00:00:00] Hello everybody and welcome to the Women of Ambition podcast. I'm your host, Alyssa Calder Hulme, and today we're gonna do something that we haven't done for a little while now, and that is a PostPod, and this is where we. Look at the last podcast that got published and digested a little bit, talk about it, contextualize some things.  We had such a fantastic time tracking together, Natalie and I, and there just really wasn't time to dig into some of the more complex ideas and some of the sources that we were drawing on, or, or I was drawing on really in my questioning. So I wanted to share some of those today because these authors and these people that we're drawing from, especially in looking at Latina ambition, are really incredible Chicano feminists.  That I've really enjoyed learning and studying with. So I'm gonna share some of those citations today and discuss a little bit more about some of the vocabulary and some of the themes that are used there, because I think it's useful and really helpful to hear the voices [00:01:00] of the people that are coming up with these theories and these ideas to describe the experience of so many people. So here's a little synopsis of. Four different texts that have been really helpful for me. Okay. So the first text that I wanna look at is called Methodology of the Oppressed, and that's by Chela Sandoval. And this is a really interesting mapping that Sandoval does of us feminism's feminists of color, and she shows this differential mode of consciousness that she shows is located in these women of color and that their unique positions and perspectives and abilities and experiences as women of color in the United States gives them this really unique angle and existence in these in-between spaces. And she says that the, these perspectives are so essential and she, and she shows it like this is. She proves it in this essay. It's really fantastic. But we need these [00:02:00] perspectives of women of color because they live in these liminal spaces and they, out of necessity and out of creativity and out of survival, end up what, this is a quote, weaving between and among oppositional idol ideologies. And it's. I love that concept and that like visual of weaving in-between spaces and things to kind of create like a new tapestry of color and meaning and blending things together that other people who don't have that perspective wouldn't be able to do and create. And it's a very heavy text. Like it, it's a very technical, but it's really it felt really inspiring to me because it's showing how. Feminism can be done with an intersectional lens and how it can be a place of creation and insight and hope in a way that like white feminisms in the United States really can't do.[00:03:00] It really does take all of us to have quality and to have. You know, have everybody's needs met. We have to have all the different perspectives and these feminists, women of color, how this really unique perspective is being some of the most disenfranchised populations in the United States, where their ideas and their perspectives are really going to make it better for everybody.  The next text that I wanna look at is called Monstrosity in Everyday Life, Theories in Flesh and Transformational Politics. And that's written by Robert, Robert Gutierrez-Perez. And this is another one of these really cool concepts nepantleras. And remember, my accent is awful. I haven't spoken Spanish out loud in like a decade.  They are the people that dwell in that in between space. And Robert goes into detail about how they mediate the borderlands and the borderlands is kind of the topic of our [00:04:00] last episode with Natalie. So. Mediate the borderlands, and that is in the physical spaces that they live in. And having borders of countries cross through spaces where people are living and people are forced to literally cross a border.  But also that metaphorical border that we talked about that is navigating different spaces. And then, Robert goes into de detail about how nepantleras have to live with contradiction and how they choose to be bridge makers in a way that is subversive. It's a, it's a method for survival, but it's also a way that deconstructs a lot of the imposed limits of, of like western colonization capitalism, all these things that try and put people in a box. And nepantleras are people that hold intersectional identities. Can cross these different spaces and can [00:05:00] be viewed as monsters for doing this crossing spaces, but can take that identity to then make it something that is empowering and transformative. And a way that, again, is that like subversive method for existing in the world and, and making it better. Okay, the next text, we're gonna go through these real quick cuz they're so great. And they are, they are dense, but I really think it's important to share them. This is Borderlands/ La Frontera: the New Mestiza, and it's by Gloria Anzaldúa, who is another fantastic Latina feminist author. Highly, highly recommend And in this text Anzaldúa talks about borderland dwellers and how they hone what we referenced in the podcast as a sixth sense, and she calls it La Facultad.  And that is that awareness of the social context that [00:06:00] develops throughout the life of Latina women as a means of self-preservation. And. In that process, she goes into kind of the, the darker side of that. We've, we talked a lot about the positive side of that with Natalie. The humor, the creativity, the bonding, the community B making that can be there. Anzaldua talks though about what can be lost in that cultivation cuz it is kind of a forced cultivation. I would almost say the way that the Anzaldua talks about it at least is kind of like a, a trauma response is how I would describe it. So Anzaldua says that what is lost in the cultivation of lafa is our innocence, our knowing ways, and our safe and easy ignorance. And so having to develop that sixth sense, that awareness is what keeps in, in Anzaldua eyes Latinas safe and gives them that superpower that we talked about. But it also comes at a cost that can be really heavy [00:07:00] but. As we heard in our last episode, it can be a place of hope and creation and of new thoughts, and that's where this idea of US women of color, feminisms being able to come in and show us things that maybe I wouldn't be able to see based on my social location and my level of privilege. And so it can be this really positive building thing and it can also be this really, really heavy thing. And I think what Natalie was saying is that's where community comes in. That's really, really important, especially in the Latinx community. Having each other and having people that can kind of lean on each other with that. And that's where. In terms of like ambition, because this is, is a podcast on ambition. All of those different social locations and identities and like abilities can. Come together in really beautiful ways, but they can also be locations of disenfranchisement and struggle and imposed and [00:08:00] contradictory expectations and can then pose more obstacles in maybe presenting. A way that is considered to be more masculine or to be outside of the cultural norm or to be transgressive of crossing those borderlands if you consider gender stereotypes and gender roles, and if you're crossing that one way or another you're gonna be. It's gonna be rough. There's gonna be resistance to that. And it can also be this place of incredible creation and growth. The last text I wanna talk about, we didn't really go into it a lot, but we kind of referenced this population, and I'm still kind of chewing with this idea because there is a lot of. Disagreement about this term and it, it's not, not necessarily a new term, but it's still being discussed. Next text I wanna look at is Chicana Latina Testimonios Mapping the Methodological Pedagogical and Political [00:09:00] political mouthful. And that is by Dolores Delgado Bernal. Rebecca Burciaga, Judith Flores Carmona. And this was published in 2017 and it's a response to another author Spivak, who coined the term subaltern. And that Subaltern is one who the dominant powers have rendered as a person who doesn't matter, isn't worth listening to. And as they're not being understood, one who does not have a platform to speak from. And originally, Spivak said that the subaltern are these people that cannot be heard or really. My interpretation is that they're saying things all the time, but the dominant society, the people with power are not listening. So these people who are not being heard and understood. Are stuck until they are given a platform. And even that term given is problematic until they can make their voice heard, they are disenfranchised. But what Bernal et al., all those [00:10:00] authors, that's what at all means. What all they responded with is that even when Chicana and Latina scholars are in the academia, are in the public eye, that because of their social location that they are continually not understood and not listened to and not heard Thus, They are still subaltern and even when they technically have a platform or they are published or whatever it is, and so it's another example of this like really complex identity of not being seen, not being heard, not being taken seriously. Maybe it is because people don't know what to do with you because you inhabit multiple locations or maybe just what you're saying. Comes from such a unique positionality, and it is looking in places that most people aren't seeing that we don't want to hear. And so these are some of the, the different ideas I've been thinking with and looking at the really innovative ways that Chicana feminists and Latinas are [00:11:00] showing up in the world and exhibiting ambition in ways that maybe the rest of us. Aren't ready for. And you know what? We need to get ready for it. And we need to be supporting everybody who wants to be doing awesome things, even if it's in ways that are surprising to us. Even if it, they are weaving things together in ways that we don't expect, even if they're bringing a perspective to the surface that has been in the shadows for our, our own lived experience.  And those, those borderland dwellers that can live with contradiction and can be the bridge makers are the people that make. Subaltern people legible and create themselves as legible people. And so when we are doing whatever work we're doing, whether it's in the government, whether it's in our homes, in our communities we need to be listening to all people and to be valuing their experiences, even if they're different than our own, even if they are bringing ideas to the table that like seem totally outta left field. To use a, a baseball analogy here [00:12:00] a very American sport. Maybe it's not outta left field. Maybe it's just based on our social position and our social context. So those are some people to go read with and to think with and to consider. Especially if you want to widen your lens. I'm trying to widen my lens to understand ambition, to understand.  Who am I not listening to? Who am I not thinking with? So those are some great places to go. I highly recommend. So we're gonna wrap this up as our post pods go, they're pretty short. So just thanks for listening. This is Women of Ambition podcast. I am your host, Alyssa Calder Hulme. And I will again, put the transcription up here. I'm putting it in the show description, so you should be able to see that within your app while listening. If you would like. If that's for some reason hard to read or the text is just too large or whatever it is, please feel free to reach out to [00:13:00] me. I'm happy to email out those those notes or add another layer to my website where maybe those transcripts are a little more legible and easy to find.  But yeah, I, I strongly suggest each of those texts, they're so many incredible Latina authors out there. Latinx people who are writing and speaking and teaching and living in ways that we can all really learn from. So go check out the Latina ambition of weaving in liminal spaces and border crossings and speaking up when people don't wanna hear or don't know how to hear.  Really some really incredible women out there. So hope you enjoyed this, and again, please let me know if those transcriptions are helpful and we'll see you again next time.[00:14:00]

Hemlandet kan syfta på många olika saker, men används ibland på ett sätt som tar ifrån människor rätten att känna sig hemma. Patricia Lorenzoni reflekterar över ett förrädiskt ord. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Vad betyder ordet ”hemland” för dig? Sannolikt tänker du inte i första hans på det som en ö. Men på svenska är detta faktiskt ordets ursprungliga betydelse. På 1500-talet hörde hemlandet skärgårdsmiljön till. ”Land” avsåg då motsatsen till ”sjö”, hemlandet var det land – det vill säga den ö – på vilket din hemgård var belägen. Så skildes hemmaön ut från exempelvis betesöar.Först senare kom ordet att rymma en idé om nationell tillhörighet. Enligt Svenska Akademiens Ordbok finns en sådan användning belagd sedan tidigt 1800-tal; hemlandet anges vara det land där man har sitt hem och är medborgare, eller där man vuxit upp.Ordbokens definition blottar en spänning: platsen där du vuxit upp eller där du har ditt hem förväntas också vara platsen där du är medborgare. Men när dessa platser inte sammanfaller? Eller om du redan från början är ifrågasatt på den plats som för dig är hemma?På 1980-talet skrev poeten Gloria Anzaldúa, i boken Borderlands / La Frontera, om hemlandet som en plågsam erfarenhet av ett liv vid gränsen. Hon växte upp i Tejas, del av det USA som en gång låg i Mexiko. Genom 1800-talets gränskrig förvandlades emellertid Tejas till Texas, och den spansktalande befolkningen kom att betraktas som främlingar i eget land. Ett och ett halvt sekel senare fortsätter människor att drabbas på absurda och brutala vis. Anzaldúa berättar om när familjen arbetade på fälten och la migra, gränspolisen, kom. Hennes farbror Pedro hade inte sina dokument med sig, talade inte engelska, kunde inte berätta att han i verkligheten var femte generationens Texasbo. För polisen var han bara ännu en mexikan utan papper. Han sattes på ett plan till Guadalajara utan en cent på fickan. Tio Pedro fick gå tillbaka till fots, över 150 mil.Detta, säger Anzaldúa, är hem, ”denna tunna rand av taggtråd”.Boken Borderlands publicerades första gången 1987. Sedan dess har dess aktualitet bara vuxit, där som här. Också i Sverige ställs frågan om hemlandet på sin spets. Den definition som Akademiens ordbok daterar till tidigt 1800-tal var del av en framväxande idé om nationen. Uppslagsordet ”hemland” återfinns i band 11, publicerat 1930. Vid den tiden skulle snart nationalismens förväntan på att hem, land och ett nationellt definierat folk sammanfaller, än en gång slita Europa sönder.Vårt sätt att tala om ”hemlandet” är alltså historiskt del av en nationalistisk idévärld. Långt ifrån alltid sammanfaller platsen där du är född, platsen för ditt hem och platsen för ditt medborgarskap. Så länge gränser har funnits har människor korsat dem. Men gränser har också flyttats – som i Anzaldúas Tejas – och därmed skurit igenom tidigare politiska och kulturella gemenskaper. I det spansktalande södra USA finns ett talesätt: Vi korsade inte gränsen, gränsen korsade oss.Spelar det någon roll om det var gränsen eller om det var människan som flyttade på sig? Ingen politisk gräns är inskriven i tingens natur, alla är de människoskapade. På svenska brukar ordet ”hemland” avse en persons födelseland, även om hen sedan länge lämnat det. I vissa fall tycks en person rentav ärva sina föräldrars hemland.Och ingenstans blir idén om hemlandet som närmast nedärvd essens så tydlig, som när barn födda i Sverige får utvisningsbeslut. Det handlar om barn som ettårige Ali, som 2019 skulle utvisas till Afghanistan trots att hans mor hade uppehållstillstånd i Sverige. Eller om treårige familjehemsplacerade Tim som 2021 skulle utvisas ensam till Nigeria där han aldrig satt sin fot . Eller, om föräldralösa tvååriga Favour som 2022 även hon skulle tas ifrån sitt familjehem och utvisas till ett Nigeria hon aldrig besökt.Utvisningar av ensamma små barn är svåra att genomföra, och många gånger får barnet till slut uppehållstillstånd av just det skälet: det föreligger, som det heter, verkställighetshinder. Avslagen liknar därför ett slags byråkratiskt skådespel, som bryter ner både barn och deras närstående. Vad de tydligt säger oss är: ditt faktiska hem är sekundärt när det ska avgöras vilket som är ditt hemland.Precis här blottas också ordets auktoritära sida. Att tillskriva någon ett hemland är att tala om vem som har rätt att känna sig hemma var, vem som har rätt att tillhöra. Vissa behöver knappt ens reflektera över det, andra påminns ständigt om att också platsen de kallar ”hem” är villkorad.Att tala om att även permanenta uppehållstillstånd ska kunna dras tillbaka, och att innehavare av sådana tillstånd då har att ”återvända till sina hemländer”, är att göra våld både på svenska språket och på idén om en rättsstat. Men i detta språkbruk ligger dessutom ett radikalt förnekande av människors rätt att skapa sig sina hem där de är, att göra också Sverige till sitt hemland.För somliga innebär detta ett förnekande av rätten att någonsin ha något att kalla hem. Professorn i välfärdsrätt Anna Lundberg är en av dem som försökt uppmärksamma den grupp människor i Sverige som förväntas återvända till ett hemland de inte har. Här finns de som är så rädda att de inte vågar återvända, men också de som faktiskt inte kan utvisas; det land till vilket Sverige vill skicka dem tar inte emot. Trots detta får de inte uppehållstillstånd. Eftersom de saknar rätt att arbeta, och eftersom ingen offentlig institution tar ansvar för deras överlevnad, är de utlämnade till svarta arbeten och svarta bostadskontrakt. Inte sällan blir de brutalt exploaterade på flera fronter.Det är bland annat dessa människor som döljs i den mystifierande omskrivningen ”skuggsamhälle”. Men även de skapar sig mot alla odds och med de fattiga medel som står till buds, sina hem i Sverige. I den meningen är Sverige, även för dem, ett hemland.När Gloria Anzaldúa benämner den plats där hon vuxit upp men där hon hela sitt liv behandlats som främling och inkräktare med ordet homeland, gör hon det inte med anspråk på autenticitet eller ursprunglig rätt. Det gränsland mellan Mexiko och USA hon skriver från, har genom seklerna bytt herrar flera gånger. Själv är hon ättling till både erövrare och erövrade. Snarare visar hennes bok världen sedd från själva gränsen, från perspektivet hos den som förvägras rätten att känna sig hemma, men som trotsigt likväl skapar sig ett hem. Sitt eget återvändande till hembygden i Tejas skildrar hon därför analogt med den färd över floden Rio Grande som görs av mexicanos del otro la'o, mexikanare från andra sidan; människor som i jakt på ett levbart liv och under stora vedermödor korsar gränsen till USA. Även dessa, säger Anzaldúa, ”kommer hem”.Kanske kan vi, med henne, gå tillbaka till den allra enklaste och mest ordnära definitionen av dem som listas i Svenska Akademiens Ordbok. Hemlandet är det land där du har ditt hem. Välkommen hit. Välkommen hem.Patricia Lorenzoni, idéhistoriker och författare

L'autrice et poétesse Gloria Anzaldúa, figure du féminisme chicana, est née en 1942 sur la ligne de démarcation entre le Mexique et les États-Unis. Habiter la frontière — et donc les conflits sociaux, linguistiques et narratifs qui s'y logent : elle n'a jamais cessé de travailler cette idée. Son ouvrage Borderlands/la Frontera : the New Mestiza, paru en 1987, a fait date : pour ce qu'il disait autant que pour la manière avec laquelle il le disait (croisant ainsi essai, fiction, poésie et récit autobiographique1). Anzaldúa est issue du monde ouvrier texan — celui des travailleuses et des travailleurs agricoles chicanos. Elle y a fait ses premières armes et critiques militantes. C'est forte de cet ancrage qu'elle a investi l'espace universitaire, s'avançant, dès le début des années 1980, comme « queer ». Un décalage perpétuel. Pour Anzaldúa, la frontière est une peau et, dans sa pensée, un outil à même d'aiguiser ce que le sociologue afro-américain W.E.B Du Bois théorisait, dès le début du XXe siècle, sous la notion de « double conscience ». Comment, en somme, traduire depuis le Nord l'expérience des minorités héritières de l'esclavage ou du colonialisme ? Nous lui avons consacré une série de publications à l'été 2020. Nous publions aujourd'hui son portrait.https://www.revue-ballast.fr/la-nouvelle-metisse-paroles-de-gloria-anzaldua/Texte de Maya Mihindou, lu par Cyrille Choupas et Maya Mihindou Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In episode #105 Chris meets with AnaLouise Keating and they discuss the The Anzaldúan Theory Handbook a comprehensive investigation of the foundational theories, methods, and philosophies of Gloria E. Anzaldúa. https://www.dukeupress.edu/the-anzalduan-theory-handbook   Chris Hoff PhD, LMFT We want to hear from you! Youtube: http://bit.ly/2i0DmaT Website: http://www.theradicaltherapist.com/ Twitter: https://twitter.com/TheRadTherapist Instagram: https://instagram.com/theradicaltherapist/ Email: theradicaltherapist@gmail.com

En este episodio, compartimos la carta "Hablar en lenguad' de la escritora y activista Gloria Anzaldúa contenido en el libro "Esta puente, mi espalda. Voces de mujeres tercemundistas en los Estados Unidos". Gloria Evangelina Anzaldúa (n. Valle del Río Grande; 26 de septiembre de 1942 - f. Santa Cruz (California); 15 de mayo del 2004), fue una académica, activista política chicana, feminista, escritora y poeta estadounidense. Gloria Anzaldúa nace en el Valle de Texas, Estados Unidos el 26 de septiembre de 1942. A los once años, su familia se traslada a Hargill, Texas. Anzaldúa logra realizar una educación universitaria, a pesar del racismo, sexismo y otras formas de opresión que ella experimenta en su vida como una tejana de séptima generación. Recibe su grado en la Universidad de Texas-Panamericana y su maestría de la Universidad de Texas en Austin. Anzaldúa ha contribuido con la definición de feminismo, así como también en el área cultural de la teoría/ chicana. Una contribución muy especial fue la introducción del término mestizaje para el público estadounidense, que significa la concepción del estado de estar 'más allá'. En sus trabajos teóricos, Anzaldúa invoca una nueva mestiza (“new mestiza”), que ella describe como un sujeto consciente de sus conflictos de identidad y usa el término el nuevo ángulo de visión (“new angles of vision”) con el fin de retar el pensamiento binario en el occidente. El modo de pensar de la “new mestiza” se encuentra ilustrado en el feminismo post-colonial. Mientras que la raza normalmente divide a la gente, Anzaldúa le pide a la gente de diferentes razas que confronte sus miedos a fin de incorporarse a un mundo donde haya menos odio y sea más fructífero para todos. En "La Conciencia de la Mestiza: Towards a New Consciousness", un texto usado en cursos para estudios sobre la mujer, Anzaldúa insiste que el separatismo invocado por los chicanos no ayuda a mejorar la causa, más bien, lo que hace es mantener la división racial estancada en el mismo lugar. Muchos de sus trabajos retan el statu quo del movimiento en el que ella se involucra. La idea de retar a esos movimientos es contribuir a que un verdadero cambio ocurra en el mundo, no exclusivo de algunos grupos solamente. Fuente: https://es.wikipedia.org/wiki/Gloria_Anzaldúa

What is Chicanismo? Is it an ideology? Is it a lived experience? Or is it a simple political categorization? While incorrect, Gloria Anzaldúa's text Borderlands has provided a substantive answer to this question and still has a heavy influence on this day. As an organization that believes in land back and true decolonization, we have felt the need in critiquing Anzaldúa's text which is characterized by the racist understandings of indigeneity in Jose Vasconcelos's text, La raza cósmica. In a special collaboration with the Decolonized Buffalo podcast, we critique Anzaldúa's text and how it still plays a big role in the community. For one to strive for collective liberation, one must deconstruct all colonial machinations and the so-called identity of "Chicanismo” must be critically analyzed. If you're interested in getting in touch with us, feel free to hit us up on Instagram, Twitter, and The Heatwave's Instagram. If you're interested in joining a local org, we highly recommend joining us at Mecha de ASU, PSL Phoenix, or PSL Tucson! Outro song: Bad Education - Bardo Martinez and The Soul Investigators The struggle continues, ¡Venceremos!

A conversation with Andrea Pitts, who teaches in the Department of Philosophy at University of North Carolina at Charlotte in Charlotte, North Carolina, where they are also affiliated with a number of other programs including the Center for Holocaust, Genocide, and Human Rights Studies, the Women's and Gender Studies Program, and the Social Aspects of Health Initiative. Andrea has published widely on Latin American and Latinx philosophy, as well as decolonial and postcolonial approaches to European thinkers, with particular emphasis on such how thinkers help us reimagine approaches to gender, race, sexuality, nation, and carcerality. In this conversation, we discuss Andrea's new book Nos/Otras: Gloria E. Anzaldúa, Multiplicitous Agency, and Resistance, which was published in late-2021 by State University of New York University Press. Our conversation here focuses on the key concepts and arguments in the book about the place of race/gender/nation in the work of Anzaldúa and its implications for the theory and practice of philosophy.

Money is back this week talking a tea to help calm your nerves, which was much needed after hearing that WNBA star (and lesbian heartthrob) and 2x Olympic Gold Medalist Brittney Griner has been detained in Russia for over 3 weeks. I talk my understandings of what's going on, what scares me about the timing of her detainment, and hopes for her safe return home (timestamp in the description for this discussion). Gloria Anzaldua is QueerWOC of the week this week and her words were a much needed and timely reminder of what we face as QWOC. #FreeBG #FreeBrittney #FreeBrittneyGriner Where to find us: IG & Twitter - @queerwocpod FB - https://www.facebook.com/QueerWOCpod/ Tumblr - www.QueerWOC.com Listen to us on Spotify, Soundcloud, Stitcher, Castbox, PocketCasts Contribute to QueerWOC via CashApp: $QueerWOCPod Become a Patron: https://www.patreon.com/queerwocpod Rate, Review, Request, Repost, Retweet, and Reply! Use the hashtag #QueerWOC to talk all things the podcast Send us an email or submit your Curved Chronicles: QueerWOCpod@gmail.com QueerWOC of the Week 00:05:13 Theorist, Writer and Chicana lesbian feminist Gloria E. Anzaldúa Her book Borderlands/La Frontera: The New Mestiza (1987) and her essay “La Prieta” are considered groundbreaking works in cultural, feminist, and queer theories. With Cherríe Moraga, Anzaldúa co-edited the landmark anthology This Bridge Called My Back: Writings by Radical Women of Color (1981). lit review episode here: https://soundcloud.com/thelitreviewchi/episode-53-borderlands-with-trina-reyolds-tyler Book here: Teaching Gloria E. Anzaldúa: Pedagogy and Practice for Our Classrooms and Communities Margaret Cantú-Sánchez (Editor), Candace de León-Zepeda (Editor), Norma Elia Cantú Mental Moment with Money 00:24:33 Dandelion Root Tea Use to treat skin problems and digestion issues dates back to 16th century, but it is becoming increasingly popular now as a coffee substitute New Research shows dandelion root might be a natural Wellbutrin! Gao, C., Kong, S., Guo, B., Liang, X., Duan, H., & Li, D. (2019). Antidepressive Effects of Taraxacum Officinale in a Mouse Model of Depression Are Due to Inhibition of Corticosterone Levels and Modulation of Mitogen-Activated Protein Kinase Phosphatase-1 (Mkp-1) and Brain-Derived Neurotrophic Factor (Bdnf) Expression. Medical science monitor : international medical journal of experimental and clinical research, 25, 389–394. https://doi.org/10.12659/MSM.912922 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6340315/ Topic 00:38:38 #FreeBrittneyGriner Why isnt this story bigger? Brittney as a worker, but the WNBA is silent! WFT is happening in Russia?!? Listen to “The Dig” Russia Invades and “Red Nation Podcast” No War no NATO in Ukraine episodes https://nymag.com/intelligencer/2022/03/why-isnt-brittney-griner-the-biggest-sports-story.html https://www.cnn.com/2022/03/10/world/brittney-griner-arrest-russia-thursday/index.html To better understand what's happening in Russia: The Red Nation Pod https://directory.libsyn.com/episode/index/show/therednation/id/22352348 The Dig Pod: https://www.thedigradio.com/podcast-episodes/ Curved Chronicles 01:11:40 That time i curved myself - park date Community Contributors Now Credits This episode of QueerWOC the podcast was made possible thanks to the monetary contributions of Luna and Marina, who became new patrons and Tiff V. who upped their pledge This episode was also made possible by the listeners in Franklin, NC; North Adams, MA; and Humble, TX

Gloria Evangelina Anzaldúa académica estadounidense especializada en la teoría cultural chicana, la teoría feminista y la teoría queer. Su libro más conocido, Borderlands/La Frontera, está parcialmente basado en su vida creciendo en la frontera entre México y Texas e incorporó sus experiencias de marginación social y cultural en el resto de su trabajo. También desarrolló teorías sobre las culturas marginales que se desarrollan a lo largo de las fronteras. Sus ensayos se consideran textos fundacionales en el campo de la filosofía latinx. Hoy nos acercamos a su conocimiento a través de sus palabras: Me cambio a mi misma, cambio el mundo.

"Me jogo no acaso que não é acaso das redes sociais e me deparo com coisas como Julia Panadés dizendo: Eu não tenho pressa porque amo mais hoje. Ou Matheusa dos Santos com sua zine delineando uma espécie de defesa do erro, uma escolha pelo erro, uma escolha pelo absurdo. Ao invés de pensar como uma adolescente que diz te amo mais que ontem e menos que amanhã resolvo ser uma adolescente que pensa amo demais porque amo hoje, já não sabemos até quando poderemos amar, então amamos agora, nos escombros e de frente pro absurdo.” Chegou mais um episódio de reflexões e indicações da nossa querida Estela Rosa! Junto com ela, te convidamos a ouvir e se desarmar como uma televisão quebrada, além de conferir mais indicações da série especial sobre artistas latino-americanas. Links e referências do episódio: Eu não tenho pressa porque amo mais hoje Errar faz bem As aventuras da China Iron, de Gabriela Cabezon Camara | Na amazon Oralitura, de Liliana Ancalao A vulva é uma ferida aberta & Outros ensaios, de Gloria Anzaldúa Quatro poemas de “histórias do tempo do amém” de Livia Aguiar Cinco poemas de “língua-mãe” de Gabriela Gomes Acompanhe nosso Medium e nossas redes sociais, Facebook, Twitter e Instagram, e comente sobre esse episódio no telegram @MQEPodcast ou no e-mail atendimento.mqe@gmail.com. Ficha Técnica Duração: 00:20:49 Edição: Régis Regi Roteiro e apresentação: Estela Rosa Trilha Sonora: Dreamtigers, de Bianca Zampier

Telling some of the story of the Flower Wars of the Aztec era, Nico Amador's poem pits wars against creation. In a poem that begins by recalling creation myths from multiple cultures, he then poses questions about why: Why would people sacrifice their own people to keep a god happy? Why would any god benefit from people's deaths? Evoking how the Flower Wars contributed to the Aztec downfall, this poem also wonders about wars today: Who benefits from a war? Who decides who should die? Why?Nico Amador has been published in a number of journals and anthologies. His chapbook, Flower Wars, was selected as the winner of the Anzaldúa Poetry Prize and was published by Newfound Press in 2017. He is a grant recipient of the Vermont Arts Council, an alumni of the Lambda Literary Foundation's Writers Retreat and an MFA candidate at Bennington College.Find the transcript for this show at onbeing.org.

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Today I talked to Viviana MacManus, author of Disruptive Archives: Feminist Memories of Resistance in Latin America's Dirty Wars published by the University of Illinois Press in 2020. It has just received Honorable Mention for the 2021 Gloria E. Anzaldúa Book Prize. The National Women's Studies Association awards the prize for groundbreaking scholarship in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship. Viviana McManus is at the department of Spanish and French Studies, Occidental College in Los Angeles. Her current research focuses “on feminist uses of horror in contending with gender state and racialized violence in Latin American film and literature”. In Disruptive Archives, Macmanus throws light on the many women activists who survived the years of repression in Argentina and Mexico and who have been relegated to the category of the unseen or are portrayed as underlings to the men who they fought alongside with. She also discusses how human rights texts and masculinist Left accounts of dictatorships have made women's struggles invisible as they have remained silent and consequently helped post dictatorship regimes who have a vested interest in brushing uncomfortable truths under the carpet. Minni Sawhney is a professor of Hispanic Studies at the University of Delhi. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Today I talked to Viviana MacManus, author of Disruptive Archives: Feminist Memories of Resistance in Latin America's Dirty Wars published by the University of Illinois Press in 2020. It has just received Honorable Mention for the 2021 Gloria E. Anzaldúa Book Prize. The National Women's Studies Association awards the prize for groundbreaking scholarship in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship. Viviana McManus is at the department of Spanish and French Studies, Occidental College in Los Angeles. Her current research focuses “on feminist uses of horror in contending with gender state and racialized violence in Latin American film and literature”. In Disruptive Archives, Macmanus throws light on the many women activists who survived the years of repression in Argentina and Mexico and who have been relegated to the category of the unseen or are portrayed as underlings to the men who they fought alongside with. She also discusses how human rights texts and masculinist Left accounts of dictatorships have made women's struggles invisible as they have remained silent and consequently helped post dictatorship regimes who have a vested interest in brushing uncomfortable truths under the carpet. Minni Sawhney is a professor of Hispanic Studies at the University of Delhi. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Today I talked to Viviana MacManus, author of Disruptive Archives: Feminist Memories of Resistance in Latin America's Dirty Wars published by the University of Illinois Press in 2020. It has just received Honorable Mention for the 2021 Gloria E. Anzaldúa Book Prize. The National Women's Studies Association awards the prize for groundbreaking scholarship in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship. Viviana McManus is at the department of Spanish and French Studies, Occidental College in Los Angeles. Her current research focuses “on feminist uses of horror in contending with gender state and racialized violence in Latin American film and literature”. In Disruptive Archives, Macmanus throws light on the many women activists who survived the years of repression in Argentina and Mexico and who have been relegated to the category of the unseen or are portrayed as underlings to the men who they fought alongside with. She also discusses how human rights texts and masculinist Left accounts of dictatorships have made women's struggles invisible as they have remained silent and consequently helped post dictatorship regimes who have a vested interest in brushing uncomfortable truths under the carpet. Minni Sawhney is a professor of Hispanic Studies at the University of Delhi. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked to Viviana MacManus, author of Disruptive Archives: Feminist Memories of Resistance in Latin America's Dirty Wars published by the University of Illinois Press in 2020. It has just received Honorable Mention for the 2021 Gloria E. Anzaldúa Book Prize. The National Women's Studies Association awards the prize for groundbreaking scholarship in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship. Viviana McManus is at the department of Spanish and French Studies, Occidental College in Los Angeles. Her current research focuses “on feminist uses of horror in contending with gender state and racialized violence in Latin American film and literature”. In Disruptive Archives, Macmanus throws light on the many women activists who survived the years of repression in Argentina and Mexico and who have been relegated to the category of the unseen or are portrayed as underlings to the men who they fought alongside with. She also discusses how human rights texts and masculinist Left accounts of dictatorships have made women's struggles invisible as they have remained silent and consequently helped post dictatorship regimes who have a vested interest in brushing uncomfortable truths under the carpet. Minni Sawhney is a professor of Hispanic Studies at the University of Delhi. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Today I talked to Viviana MacManus, author of Disruptive Archives: Feminist Memories of Resistance in Latin America's Dirty Wars published by the University of Illinois Press in 2020. It has just received Honorable Mention for the 2021 Gloria E. Anzaldúa Book Prize. The National Women's Studies Association awards the prize for groundbreaking scholarship in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship. Viviana McManus is at the department of Spanish and French Studies, Occidental College in Los Angeles. Her current research focuses “on feminist uses of horror in contending with gender state and racialized violence in Latin American film and literature”. In Disruptive Archives, Macmanus throws light on the many women activists who survived the years of repression in Argentina and Mexico and who have been relegated to the category of the unseen or are portrayed as underlings to the men who they fought alongside with. She also discusses how human rights texts and masculinist Left accounts of dictatorships have made women's struggles invisible as they have remained silent and consequently helped post dictatorship regimes who have a vested interest in brushing uncomfortable truths under the carpet. Minni Sawhney is a professor of Hispanic Studies at the University of Delhi. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Today I talked to Viviana MacManus, author of Disruptive Archives: Feminist Memories of Resistance in Latin America's Dirty Wars published by the University of Illinois Press in 2020. It has just received Honorable Mention for the 2021 Gloria E. Anzaldúa Book Prize. The National Women's Studies Association awards the prize for groundbreaking scholarship in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship. Viviana McManus is at the department of Spanish and French Studies, Occidental College in Los Angeles. Her current research focuses “on feminist uses of horror in contending with gender state and racialized violence in Latin American film and literature”. In Disruptive Archives, Macmanus throws light on the many women activists who survived the years of repression in Argentina and Mexico and who have been relegated to the category of the unseen or are portrayed as underlings to the men who they fought alongside with. She also discusses how human rights texts and masculinist Left accounts of dictatorships have made women's struggles invisible as they have remained silent and consequently helped post dictatorship regimes who have a vested interest in brushing uncomfortable truths under the carpet. Minni Sawhney is a professor of Hispanic Studies at the University of Delhi. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

Anna leads today's discussion about her ebook, Balancing Your College Life: An Existential Perspective on Exercise and Entertainment. We talk about how we chose our majors and dealing with uncertainty. We also share our tips for coping with academic pressure and art and literature that inspire us. Check out more of Anna's work in her article "Chapter One: Welcome Week" and "Chapter Three: Exercise & Mental Health in the Big Picture."Follow us on Instagram @thecampusclipper for great student discounts. Read the interns' work on our blog. Visit nyc.campusclipper.com for all of our NYC coupons.Mentioned in this episode:Nausea by Jean-Paul SartreAuthor Alan Watts and his work interpreting Eastern religions for Western audiencesNotion an online workspace to help organizationThe Book Thief by Marcus ZusakAuthor Neil Gaiman's short story collectionsZami: A New Spelling of My Name by Audre LordeWriter and activist Zitkala-SaBorderlands/La Frontera: The New Mestiza by Gloria E. Anzaldúa

How can we think together multiplicity and agency? How can we resist oppression and build transformative political coalitions while attending to the ambivalences and incommensurabilities born of the collective conditions for action, meaning making, and self-understanding? In Nos/Otras: Gloria E. Anzaldúa, Multiplicitous Agency, and Resistance (SUNY Press, 2021), Andrea J. Pitts engages the work of Gloria Anzaldúa and her many readers to give us a framework for consistently returning to these questions as central to struggle for collective flourishing. As part of asking these questions, Pitts delves into critiques arising from disability, critical trans, and Indigenous studies and activism. Pitts provokes us to think ever anew about what is possible between us. Sarah Tyson is an associate professor of philosophy at the University of Colorado, Denver. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How can we think together multiplicity and agency? How can we resist oppression and build transformative political coalitions while attending to the ambivalences and incommensurabilities born of the collective conditions for action, meaning making, and self-understanding? In Nos/Otras: Gloria E. Anzaldúa, Multiplicitous Agency, and Resistance (SUNY Press, 2021), Andrea J. Pitts engages the work of Gloria Anzaldúa and her many readers to give us a framework for consistently returning to these questions as central to struggle for collective flourishing. As part of asking these questions, Pitts delves into critiques arising from disability, critical trans, and Indigenous studies and activism. Pitts provokes us to think ever anew about what is possible between us. Sarah Tyson is an associate professor of philosophy at the University of Colorado, Denver. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

How can we think together multiplicity and agency? How can we resist oppression and build transformative political coalitions while attending to the ambivalences and incommensurabilities born of the collective conditions for action, meaning making, and self-understanding? In Nos/Otras: Gloria E. Anzaldúa, Multiplicitous Agency, and Resistance (SUNY Press, 2021), Andrea J. Pitts engages the work of Gloria Anzaldúa and her many readers to give us a framework for consistently returning to these questions as central to struggle for collective flourishing. As part of asking these questions, Pitts delves into critiques arising from disability, critical trans, and Indigenous studies and activism. Pitts provokes us to think ever anew about what is possible between us. Sarah Tyson is an associate professor of philosophy at the University of Colorado, Denver. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

How can we think together multiplicity and agency? How can we resist oppression and build transformative political coalitions while attending to the ambivalences and incommensurabilities born of the collective conditions for action, meaning making, and self-understanding? In Nos/Otras: Gloria E. Anzaldúa, Multiplicitous Agency, and Resistance (SUNY Press, 2021), Andrea J. Pitts engages the work of Gloria Anzaldúa and her many readers to give us a framework for consistently returning to these questions as central to struggle for collective flourishing. As part of asking these questions, Pitts delves into critiques arising from disability, critical trans, and Indigenous studies and activism. Pitts provokes us to think ever anew about what is possible between us. Sarah Tyson is an associate professor of philosophy at the University of Colorado, Denver. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/philosophy

Aimee Meredith Cox is an Associate Professor of Anthropology and African American Studies at Yale University. Her research and teaching interests lie at the intersection of Anthropology, Black Studies, and Performance Studies. Cox's first monograph, Shapeshifters: Black Girls and the Choreography of Citizenship (Duke 2015), won the 2017 book award from the Society for the Anthropology of North America, a 2016 Victor Turner Book Prize in Ethnographic Writing, and Honorable Mention from the 2016 Gloria E. Anzaldúa Book Prize. She is also the editor of the volume, Gender: Space(MacMillan, 2018). Aimee is a dancer and choreographer. She performed and toured internationally with Ailey II and the Dance Theatre of Harlem and has choreographed performances as interventions in public and private space in Newark, Philadelphia, and Brooklyn. Her most recent work, based on interviews with long time activists in Cincinnati, engaged hundreds of residents in a performance ritual as part of her research in that city for an ethnography entitled Living Past Slow Death. An accomplished yogi who teaches master classes internationally, Aimee has led several yoga retreats and teacher trainings. Her experience in this realm is the basis for her next ethnographic exploration. This project considers the intersection of race, what she calls, ‘spiritual theater', and performances of healing and recovery within the context of rapidly gentrifying Brooklyn.

Poet Ariana Brown searches for new origins in her debut book We Are Owed. (Grieveland Press, 2021). Brown has had over ten years of experience writing, performing, and teaching poetry that struggles towards freedom for all Black peoples. She identifies on her website as a “queer Black Mexican American poet” whose lived experiences within anti-Black cultures and societies have forced her to spin language into liberation. We Are Owed. achieves that goal by centering scenes of Black Mexican American life, history, and feeling. The title is a call to action, a demand, a recognition, a reparation, a reorientation, and a reclamation. Brown ushers in a new grammar that reaches beyond nation and builds from the foundational understanding that colonial and neocolonial nation-states, and the theory of borderlands set forth by Anzaldúa, are limiting to Black peoples. Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Poet Ariana Brown searches for new origins in her debut book We Are Owed. (Grieveland Press, 2021). Brown has had over ten years of experience writing, performing, and teaching poetry that struggles towards freedom for all Black peoples. She identifies on her website as a “queer Black Mexican American poet” whose lived experiences within anti-Black cultures and societies have forced her to spin language into liberation. We Are Owed. achieves that goal by centering scenes of Black Mexican American life, history, and feeling. The title is a call to action, a demand, a recognition, a reparation, a reorientation, and a reclamation. Brown ushers in a new grammar that reaches beyond nation and builds from the foundational understanding that colonial and neocolonial nation-states, and the theory of borderlands set forth by Anzaldúa, are limiting to Black peoples. Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Poet Ariana Brown searches for new origins in her debut book We Are Owed. (Grieveland Press, 2021). Brown has had over ten years of experience writing, performing, and teaching poetry that struggles towards freedom for all Black peoples. She identifies on her website as a “queer Black Mexican American poet” whose lived experiences within anti-Black cultures and societies have forced her to spin language into liberation. We Are Owed. achieves that goal by centering scenes of Black Mexican American life, history, and feeling. The title is a call to action, a demand, a recognition, a reparation, a reorientation, and a reclamation. Brown ushers in a new grammar that reaches beyond nation and builds from the foundational understanding that colonial and neocolonial nation-states, and the theory of borderlands set forth by Anzaldúa, are limiting to Black peoples. Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Poet Ariana Brown searches for new origins in her debut book We Are Owed. (Grieveland Press, 2021). Brown has had over ten years of experience writing, performing, and teaching poetry that struggles towards freedom for all Black peoples. She identifies on her website as a “queer Black Mexican American poet” whose lived experiences within anti-Black cultures and societies have forced her to spin language into liberation. We Are Owed. achieves that goal by centering scenes of Black Mexican American life, history, and feeling. The title is a call to action, a demand, a recognition, a reparation, a reorientation, and a reclamation. Brown ushers in a new grammar that reaches beyond nation and builds from the foundational understanding that colonial and neocolonial nation-states, and the theory of borderlands set forth by Anzaldúa, are limiting to Black peoples. Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Poet Ariana Brown searches for new origins in her debut book We Are Owed. (Grieveland Press, 2021). Brown has had over ten years of experience writing, performing, and teaching poetry that struggles towards freedom for all Black peoples. She identifies on her website as a “queer Black Mexican American poet” whose lived experiences within anti-Black cultures and societies have forced her to spin language into liberation. We Are Owed. achieves that goal by centering scenes of Black Mexican American life, history, and feeling. The title is a call to action, a demand, a recognition, a reparation, a reorientation, and a reclamation. Brown ushers in a new grammar that reaches beyond nation and builds from the foundational understanding that colonial and neocolonial nation-states, and the theory of borderlands set forth by Anzaldúa, are limiting to Black peoples. Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Poet Ariana Brown searches for new origins in her debut book We Are Owed. (Grieveland Press, 2021). Brown has had over ten years of experience writing, performing, and teaching poetry that struggles towards freedom for all Black peoples. She identifies on her website as a “queer Black Mexican American poet” whose lived experiences within anti-Black cultures and societies have forced her to spin language into liberation. We Are Owed. achieves that goal by centering scenes of Black Mexican American life, history, and feeling. The title is a call to action, a demand, a recognition, a reparation, a reorientation, and a reclamation. Brown ushers in a new grammar that reaches beyond nation and builds from the foundational understanding that colonial and neocolonial nation-states, and the theory of borderlands set forth by Anzaldúa, are limiting to Black peoples. Jonathan Cortez is currently the 2021-2023 César Chávez Postdoctoral Fellow in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

Hi everyone. I hope you are doing well. I have been working quite a bit the past few weeks. I did a quick virtual artist talk with my good friend, Justin Favela, for the Rogers Art Loft virtual residency I am currently part of. I have also been recording quite a number of interviews with the Las Vegas community, so keep an eye out for these episodes in the upcoming months. Also, on June 30th and July 14th at 6pm PST, I will be doing live interviews with Jennifer Kleven and Dr. Erika Abad, with a quick Q&A afterwards. I will post the links on social media as the dates get closer. I hope to see a few of you there.For today, I am interviewing my good friend and the amazing artist, Yvette Mayorga. Yvette is a multidisciplinary artist based in Chicago, Illinois who interrogates the broad effects of militarization within and beyond the US/Mexico border and intervenes in the colonial legacies of art history. She fuses confectionary labor with found images to explore the meaning of belonging. Yvette got her BFA with a Minor in Anthropology at the University of Illinois at Urbana Champaign and an MFA from The School of the Art Institute of Chicago. She has shown in numerous places such as the National Museum of Mexican Art, LACMA, the DePaul Art Museum, and most recently the El Museo del Barrio. I met Yvette a few years ago in Miami and we formed a special friendship that continues on to today. Yvette and I talked about Gloria Anzaldúa, the Nike Cortez, showing at art fairs, and Key Lime Pies. Stay safe and healthy, and I hope you enjoy this. Links Mentioned:Yvette's WebsiteYvette's InstagramAdam ToledoGloria E. Anzaldúa's Borderlands/La Frontera: The New MestizaEl Museo del Barrio's La TrienalHernán CortésNike CortezDePaul Art Museum - LatinXAmericanFollow Seeing Color:Seeing Color WebsiteSubscribe on Apple PodcastsFacebookTwitterInstagram

En este episodio, compartimos el ensayo "La prieta" de la escritora y activista Gloria Anzaldúa contenido en el libro "Esta puente, mi espalda. Voces de mujeres tercemundistas en los Estados Unidos". Gloria Evangelina Anzaldúa (n. Valle del Río Grande; 26 de septiembre de 1942 - f. Santa Cruz (California); 15 de mayo del 2004), fue una académica, activista política chicana, feminista, escritora y poeta estadounidense. Gloria Anzaldúa nace en el Valle de Texas, Estados Unidos el 26 de septiembre de 1942. A los once años, su familia se traslada a Hargill, Texas. Anzaldúa logra realizar una educación universitaria, a pesar del racismo, sexismo y otras formas de opresión que ella experimenta en su vida como una tejana de séptima generación. Recibe su grado en la Universidad de Texas-Panamericana y su maestría de la Universidad de Texas en Austin. Anzaldúa ha contribuido con la definición de feminismo, así como también en el área cultural de la teoría/ chicana. Una contribución muy especial fue la introducción del término mestizaje para el público estadounidense, que significa la concepción del estado de estar 'más allá'. En sus trabajos teóricos, Anzaldúa invoca una nueva mestiza (“new mestiza”), que ella describe como un sujeto consciente de sus conflictos de identidad y usa el término el nuevo ángulo de visión (“new angles of vision”) con el fin de retar el pensamiento binario en el occidente. El modo de pensar de la “new mestiza” se encuentra ilustrado en el feminismo post-colonial. Mientras que la raza normalmente divide a la gente, Anzaldúa le pide a la gente de diferentes razas que confronte sus miedos a fin de incorporarse a un mundo donde haya menos odio y sea más fructífero para todos. En "La Conciencia de la Mestiza: Towards a New Consciousness", un texto usado en cursos para estudios sobre la mujer, Anzaldúa insiste que el separatismo invocado por los chicanos no ayuda a mejorar la causa, más bien, lo que hace es mantener la división racial estancada en el mismo lugar. Muchos de sus trabajos retan el statu quo del movimiento en el que ella se involucra. La idea de retar a esos movimientos es contribuir a que un verdadero cambio ocurra en el mundo, no exclusivo de algunos grupos solamente. Fuente: https://es.wikipedia.org/wiki/Gloria_Anzaldúa

En este episodio, compartimos el capítulo 05 "Cómo domar una lengua salvaje" de la escritora y activista Gloria Anzaldúa contenido en el libro "Borderlands/La Frontera: The New Mestiza". Gloria Evangelina Anzaldúa (n. Valle del Río Grande; 26 de septiembre de 1942 - f. Santa Cruz (California); 15 de mayo del 2004), fue una académica, activista política chicana, feminista, escritora y poeta estadounidense. Gloria Anzaldúa nace en el Valle de Texas, Estados Unidos el 26 de septiembre de 1942. A los once años, su familia se traslada a Hargill, Texas. Anzaldúa logra realizar una educación universitaria, a pesar del racismo, sexismo y otras formas de opresión que ella experimenta en su vida como una tejana de séptima generación. Recibe su grado en la Universidad de Texas-Panamericana y su maestría de la Universidad de Texas en Austin. Anzaldúa ha contribuido con la definición de feminismo, así como también en el área cultural de la teoría/ chicana. Una contribución muy especial fue la introducción del término mestizaje para el público estadounidense, que significa la concepción del estado de estar 'más allá'. En sus trabajos teóricos, Anzaldúa invoca una nueva mestiza (“new mestiza”), que ella describe como un sujeto consciente de sus conflictos de identidad y usa el término el nuevo ángulo de visión (“new angles of vision”) con el fin de retar el pensamiento binario en el occidente. El modo de pensar de la “new mestiza” se encuentra ilustrado en el feminismo post-colonial. Mientras que la raza normalmente divide a la gente, Anzaldúa le pide a la gente de diferentes razas que confronte sus miedos a fin de incorporarse a un mundo donde haya menos odio y sea más fructífero para todos. En "La Conciencia de la Mestiza: Towards a New Consciousness", un texto usado en cursos para estudios sobre la mujer, Anzaldúa insiste que el separatismo invocado por los chicanos no ayuda a mejorar la causa, más bien, lo que hace es mantener la división racial estancada en el mismo lugar. Muchos de sus trabajos retan el statu quo del movimiento en el que ella se involucra. La idea de retar a esos movimientos es contribuir a que un verdadero cambio ocurra en el mundo, no exclusivo de algunos grupos solamente. Fuente: https://es.wikipedia.org/wiki/Gloria_Anzaldúa

En este episodio, compartimos el capítulo 02 "Movimientos de rebeldía y las culturas que traicionan" de la escritora y activista Gloria Anzaldúa contenido en el libro "Borderlands/La Frontera: The New Mestiza". Gloria Evangelina Anzaldúa (n. Valle del Río Grande; 26 de septiembre de 1942 - f. Santa Cruz (California); 15 de mayo del 2004), fue una académica, activista política chicana, feminista, escritora y poeta estadounidense. Gloria Anzaldúa nace en el Valle de Texas, Estados Unidos el 26 de septiembre de 1942. A los once años, su familia se traslada a Hargill, Texas. Anzaldúa logra realizar una educación universitaria, a pesar del racismo, sexismo y otras formas de opresión que ella experimenta en su vida como una tejana de séptima generación. Recibe su grado en la Universidad de Texas-Panamericana y su maestría de la Universidad de Texas en Austin. Anzaldúa ha contribuido con la definición de feminismo, así como también en el área cultural de la teoría/ chicana. Una contribución muy especial fue la introducción del término mestizaje para el público estadounidense, que significa la concepción del estado de estar 'más allá'. En sus trabajos teóricos, Anzaldúa invoca una nueva mestiza (“new mestiza”), que ella describe como un sujeto consciente de sus conflictos de identidad y usa el término el nuevo ángulo de visión (“new angles of vision”) con el fin de retar el pensamiento binario en el occidente. El modo de pensar de la “new mestiza” se encuentra ilustrado en el feminismo post-colonial. Mientras que la raza normalmente divide a la gente, Anzaldúa le pide a la gente de diferentes razas que confronte sus miedos a fin de incorporarse a un mundo donde haya menos odio y sea más fructífero para todos. En "La Conciencia de la Mestiza: Towards a New Consciousness", un texto usado en cursos para estudios sobre la mujer, Anzaldúa insiste que el separatismo invocado por los chicanos no ayuda a mejorar la causa, más bien, lo que hace es mantener la división racial estancada en el mismo lugar. Muchos de sus trabajos retan el statu quo del movimiento en el que ella se involucra. La idea de retar a esos movimientos es contribuir a que un verdadero cambio ocurra en el mundo, no exclusivo de algunos grupos solamente. Fuente: https://es.wikipedia.org/wiki/Gloria_Anzaldúa

Hoy comentamos Borderlands, la nueva mestiza, de Gloria Anzaldúa. Este libro es un texto mestizo, tanto política como estéticamente. En él se entrecruzan autobiografía, ensayo y poesía con una escritura que desafía la linealidad narrativa y se desliza entre las lenguas que definieron las experiencias vitales de Anzaldúa: español, inglés, náhuatl, mexicano norteño, tex-mex, chicano y pachuco, para producir un nuevo discurso crítico que impide esencialismos y pretende, por el contrario, celebrar las múltiples identidades en las que se reconocen los sujetos fronterizos y que dan forma a la conciencia de la llamada Nueva Mestiza. Anzaldúa desarrolla, por un lado, una redefinición de la identidad nacional chicana, fundada en el mito de Aztlán, así como una transformación del discurso de mestizaje ideado por Vasconcelos, para proponer un nuevo sujeto mestizo mujer: la Nueva Mestiza, sujeto heterogéneo, marginal y de herencia indígena; mujer de color, lesbiana y habitante de la frontera, cuya identidad se construye a partir de sus luchas y de su origen racial, lingüístico e histórico, y cuyo reconocimiento problematiza la universalidad heteronormativa, patriarcal y excluyente con la que el colectivo y el movimiento chicanos habían concebido su discurso de identidad étnica.

Hoy comentamos Borderlands, la nueva mestiza, de Gloria Anzaldúa. Este libro es un texto mestizo, tanto política como estéticamente. En él se entrecruzan autobiografía, ensayo y poesía con una escritura que desafía la linealidad narrativa y se desliza entre las lenguas que definieron las experiencias vitales de Anzaldúa: español, inglés, náhuatl, mexicano norteño, tex-mex, chicano y pachuco, para producir un nuevo discurso crítico que impide esencialismos y pretende, por el contrario, celebrar las múltiples identidades en las que se reconocen los sujetos fronterizos y que dan forma a la conciencia de la llamada Nueva Mestiza. Anzaldúa desarrolla, por un lado, una redefinición de la identidad nacional chicana, fundada en el mito de Aztlán, así como una transformación del discurso de mestizaje ideado por Vasconcelos, para proponer un nuevo sujeto mestizo mujer: la Nueva Mestiza, sujeto heterogéneo, marginal y de herencia indígena; mujer de color, lesbiana y habitante de la frontera, cuya identidad se construye a partir de sus luchas y de su origen racial, lingüístico e histórico, y cuyo reconocimiento problematiza la universalidad heteronormativa, patriarcal y excluyente con la que el colectivo y el movimiento chicanos habían concebido su discurso de identidad étnica.

Teresa Cos sent a voice message: The Monarch. Arif and Radna think about reflecting forward. Teresa has a plan b. The show "The power of doing nothing" is available on jajaaneeneenee.com. So is the report on care riders by Fabian Reichle and at7. Gloria E. Anzaldúa's book is titled 'Luz en lo Oscuro'. Teresa Cos is an artist exploring the processes of repetition underlying history, society and human psychology. Her work encompasses film, sound and video installation, visual scoring, experimental music composition and performance. Her website is at teresacos.com.

Preaching for the Feast of Our Lady of Guadalupe, Dr. Pearl Maria Barros offers a reflection on the "dangerous memory of Mary": "[R]ecalling the 'dangerous memory of Mary' challenges depictions of Mary’s life that attempt to neutralize its radical implications for pushing against injustice and its call to stand in compassionate solidarity with all who suffer....It is this dangerous memory of La Virgen of Guadalupe that empowers nos/otrx to push against all that keeps us from recognizing the presence of God in ourselves, and each other." Dr. Pearl Maria Barros is assistant professor of religious studies at Santa Clara University. She holds a Th.D. in Religion, Gender, and Culture from Harvard, an M.T.S. from Harvard, and a B.A. from Santa Clara University. She is a Catholic feminist theologian whose work engages Latinx cultural studies and decolonial theory. In particular, her research focuses on the relationships between sexuality, subjectivity, and spirituality in Latinx women’s writings, especially in Anzaldúan thought. Visit www.catholicwomenpreach.org/preaching/12122020 to learn more about Dr. Barros, to read her preaching text, and for more preaching from Catholic women.

Esse é o sexto episódio do podcast Gênero, estado e processos de subjetivação. Nesse episódio apresento algumas informações sobre a obra de Gloria Anzaldúa, comentando sobre suas propostas, diálogos e intenções. Esse episódio encerra a Primeira Temporada. Além disso, o podcast voltará totalmente reformulado e com novo nome: CAMPO - um podcast de Antropologia. A proposta segue a mesma: apresentar de forma simples debates importante no campo da Antropologia, em episódios curtos e organizados em temporadas temáticas. Acessem o site do podcast para mais informações e para outras referências e comentários sobre a autora: https://www.podcastdeantropologia.com.br Créditos: Concepção, pesquisa e apresentação: Paula Lacerda Edição, montagem e pesquisa: Carol Parreiras Locução de poemas: Carol Parreiras (inglês), Andrea Lacombe (espanhol) e Rita Santos (português) Vinheta de transição: autoria de harri, com pequena adaptação para o ep., disponível sob licença [CC], em freesound.org  Vinheta de abertura e encerramento: carloscarty, disponível sob licença [CC] em looperman.com

​This was a hard book to talk about, but we're so glad that we did. The late Gloria Anzaldúa's book Borderlands/La Frontera: The New Mestiza is beloved to many and considered a fundamental text in Chicana and Latinx studies. With gorgeous prose, she richly captures the unique experiences of those who inhabit the borderlands; of place, gender, class, and identity. Anzaldúa's book offers a poetic description of what it's like to be caught between worlds. At the same time, this work is rightly called-out for those that it erases: Black, Indigenous, and trans people —all also existing and resisting in the borderlands. Monica and Page talk with Trina Reynolds-Tyler of the Invisible Institute about the ongoing influence this book has had on her as a Black woman living on the borderlands of Chicago's south side.

This episode we’re Receiving Book Recommendations! Last episode we asked each other for books in specific areas and this week we’re back with our suggestions for table top role playing games, folklore, healthcare, poetry, urban fantasy and more. You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Stitcher, Google Podcasts, Spotify, or your favourite podcast delivery system. In this episode Anna Ferri | Meghan Whyte | Matthew Murray | RJ Edwards Things We Recommend An Indie Tabletop Game The Queen of Cups  TTRPG Safety Toolkit by Kienna Shaw & Lauren Bryant-Monk The Skeletons Slavic/Eastern European Folklore Slavic Folklore: A Handbook by Natalie Kononenko Natalie Kononenko (Wikipedia) Nart Sagas from the Caucasus: Myths and Legends from the Circassians, Abazas, Abkhaz, and Ubykhs by John Colarusso Baba Yaga: The Wild Witch of the East in Russian Fairy Tales Baba Yaga cross stitch Matthew’s working on Humanism in/of Healthcare 2020 Summer Reading for Compassionate Clinicians - The Gold foundation The Finest Traditions of My Calling: One Physician's Search for the Renewal of Medicine by Abraham M. Nussbaum Journal of Applied Hermeneutics - Canadian Hermeneutic Institute  Fiction that Surprises Bunny by Mona Awad Untold Night and Day by Bae Suah Sci-fi/Fantasy set in the Contemporary World The Scapegracers by Hannah Abigail Clarke Trail of Lightning by Rebecca Roanhorse Mooncakes by Suzanne Walker and Wendy Xu Spellhacker by M.K England The Lost Coast by A.R. Capetta Cemetery Boys by Aiden Thomas The Book of Phoenix by Nnedi Okorafor The Nobody People by Bob Proehl Urban Fantasy Certain Dark Things by Silvia Moreno-Garcia Minimum Wage Magic by Rachel Aaron Horror Hull Zero Three by Greg Bear Parasite Eve by Hideaki Sena Parasite Eve (video game) (Wikipedia) The Fog Knows Your Name Poetry Curator of Ephemera at the New Museum for Archaic Media by Heid E. Erdrich Ledger by Jane Hirshfield Catrachos by Roy G. Guzmán Dub: Finding Ceremony by Alexis Pauline Gumbs Queer Poets Write About Nature by edited by Dylan Ce Feminist Essay Collection Pleasure Activism: The Politics of Feeling Good by adrienne maree brown Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity by Julia Serano Fiction set at Christmastime/Non-Fiction about Christmas Christmas Inn Maine by Chelsea M. Cameron Glass Tidings by Amy Jo Cousins The Battle for Christmas by Stephen Nissenbaum Russian Language Learning Materials Learn to Read and Write Russian - Russian Alphabet Made Easy Sputnik: An Introductory Russian Language Course, Part I by by Julia Rochtchina Space Opera Binti by Nnedi Okorafor To Be Taught, If Fortunate by Becky Chambers Suggestions from our Listeners! An Indie Tabletop Game Bluebeard's Bride from Magpie Games Slavic/Eastern European Folklore Slavic Folklore: A Handbook by Natalie Kononenko On the Banks of the Yaryn by Aleksandr Kondratiev Humanism in/of Healthcare The Language of Kindness: A Nurse’s Story by Christie Watson Fiction that Surprises Slade House by David Mitchell Sci-fi/Fantasy set in the Contemporary World Empire State by Adam Christopher The Abyss Surrounds Us by Emily Skrutskie Finna by Nino Cipri Urban Fantasy God Save the Queen by Kate Locke Three Parts Dead by Max Gladstone Horror And the Trees Crept In by Dawn Kurtagich Under the Pendulum Sun by Jeannette Ng Poetry The Octopus Museum by Brenda Shaughnessy Feminist Essay Collection Hood Feminism by Mikki Kendall This Bridge Called My Back: Writings by Radical Women of Color edited by Cherríe L. Moraga and Gloria E. Anzaldúa Colonize This!: Young Women of Color on Today's Feminism edited by Bushra Rehman and Daisy Hernández Turn This World Inside Out: The Emergence of Nurturance Culture by Nora Samaran Fiction set at Christmastime/Non-Fiction about Christmas Whiteout by Elyse Springer Glad Tidings of Struggle and Strife by Llew Smith Mangos & Mistletoe by Adriana Herrera Better Not Pout by Annabeth Albert Russian Language Learning Materials We Read These Tales by Syllables by Vladimir Suteev Space Opera Alien People by John Coon Dreamships by Melissa Scott A Matter of Oaths by Helen S. Wright Other Media We Mentioned Fiasco Ring by Kōji Suzuki Tomie by Junji Ito Spirit of the Season The Coldest City by Antony Johnston and Sam Hart Atomic Blonde (Wikipedia) Saga, Vol. 1 by Brian K. Vaughan and Fiona Staples On a Sunbeam by Tillie Walden House of Reeds by Thomas Harlan Links, Articles, and Things Eisner Award for Best Lettering (Wikipedia) Lambda Literary Award (Wikipedia) Episode 078 - Supernatural Thrillers Shadowrun (Wikipedia) Give us feedback! Fill out the form to ask for a recommendation or suggest a genre or title for us to read! Check out our Tumblr, follow us on Twitter or Instagram, join our Facebook Group, or send us an email! Join us again on Tuesday, December 1st we’ll be discussing the genre that you chose for us to read, New Weird Fiction! Then on Tuesday, December 15th it’ll be our Best of 2020 episode!

In her book, Borderlands/La Frontera, the great Chicana poet, author, and activist, Gloria Anzaldúa writes, “Borders are set up to define the places that are safe and unsafe, to distinguish us from them. A border is a dividing line…The prohibited and forbidden are its inhabitants.” Recently, the field of choral music has begun to extend the work of social justice to borders and the harm they cause. As we struggle for ways to understand the lives of refugees, immigrants, and the displaced through music, we find ourselves seeking to engage deeply with the prohibited and the forbidden. How can we get close? How can we listen deeply? How can we compassionately reflect these stories in our music-making?Ahmed Anzaldúa is a Mexican choral conductor, classical pianist, and music educator of Egyptian descent. He is the director and founder of Border CrosSing, an organization dedicated to integrating historically-segregated audiences, repertoires, and musicians through the performance of choral music. Founded in 2017, Border CrosSing envisions fundamental change in classical music culture, so that every concert, every audience, and the artists on stage truly reflect the cultural reality of the community. Their work provides opportunities for people from different backgrounds to understand each other in new ways through their multi-lingual Puentes concert series, educational programs in schools, and collaborations with Minnesota-based arts and cultural organizations.

Urayoán Noel introduces recordings of Ai engaging with war through necessary fury (“The Root Eater”), Lehua M. Taitano composing a lifeline to communities living with the legacies of colonialism (“A Love Letter to the Chamoru People in the Twenty-first Century”), Ofelia Zepeda on the untranslatability of song (“Ñeñe'i Ha-ṣa:gid / In the Midst of Songs”), and a fable of radical imagination by Gloria E. Anzaldúa (“Nepantla”). Noel ends the episode with his poem “Molecular Modular,” built around open-ended questions considering virality and modes of community.Listen to the full recordings of Ai, Taitano, Zepeda, and Anzaldúa reading for the Poetry Center on Voca:Ai (1972)Lehua M. Taitano with the board of Thinking Its Presence (2017)Ofelia Zepeda (2015)Gloria E. Anzaldúa (1991)Listen to a performance by Urayoán Noel on Voca, presented as part of the Thinking Its Presence conference in 2017.

On Episode 44 of the Hippie Cholo Podcast, we talk about Joe Kelly's rise to Dodger Legend, discuss Las Cruces Public School's decision to change the name of Oñate High School to Organ Mountain High School, and we wonder why Minor League Baseball's Spokane Indians are still the Spokane Indians, despite the team's attempt to understand and celebrate the community behind their mascot. And we hope you did your homework, as we share our thoughts on Chapter 1 of "Borderlands/La Frontera" by Gloria E. Anzaldúa.

On Episode 43 of the Hippie Cholo Podcast, we talk about federal agents invading U.S. cities, AOC calling out an asshole (that's you, Rep. Ted Yoho), the Washington football team's new name, which is the Washington Football Team, and the Dodgers' return to Chavez Ravine. We also bust out our copies of "Borderlands/La Frontera: The New Mestiza" by Gloria E. Anzaldúa to kick off the Hippie Cholo Book Club. 

For this Third Thursday, we thought we'd take a moment - in the middle of the month, in the middle of the year - to talk about the dreaded middle. As writers, we spend lots of creative energy thinking about the beginning of a project. We agonize over and draft and redraft our endings. But it's the middle, more often than not, where we find ourselves stuck. Join us for a conversation with Charlotte Gullick, Donna Johnson, and ire'ne lara silva as we ponder how best to tackle the highs and lows of a writing project's hump. The conversation was be moderated by WLT ED Becka Oliver. Charlotte Gullick is Chair of the Creative Writing Department at Austin Community College. She holds BA in Literature/Creative Writing from UC Santa Cruz and a MA in English/Creative Writing from UC Davis as well as a MFA in Creative Nonfiction from the Institute of American Indian Arts. Her awards include a Christopher Isherwood Fellowship for Fiction, a Colorado Council on the Arts Fellowship for Poetry, and residencies at MacDowell and Ragdale. She is the author of the novel By Way of Water. Donna M. Johnson is the author of Holy Ghost Girl, a critically acclaimed memoir deemed “enthralling” by the New York Times and “compulsively readable” by Texas Monthly. Oprah named the book to her Memoirs We Love list. Holy Ghost Girl won the Mayborn Creative Nonfiction Prize and took top honors at the Books for a Better Life Awards in Manhattan. Donna has written for Huffington Post, The Rumpus, Shambhala Sun, Psychology Today, and other publications. Donna is a Ragdale Fellow and was recently awarded a fellowship at the Lucas Artist’s Residency. She is currently at work on a memoir that combines investigative reporting with person narrative. ire’ne lara silva is the author of three poetry collections, furia (Mouthfeel Press, 2010) Blood Sugar Canto (Saddle Road Press, 2016), and CUICACALLI/House of Song (Saddle Road Press, 2019), an e-chapbook, Enduring Azucares, (Sibling Rivalry Press, 2015), as well as a short story collection, flesh to bone (Aunt Lute Books, 2013) which won the Premio Aztlán. She and poet Dan Vera are also the co-editors of Imaniman: Poets Writing in the Anzaldúan Borderlands, (Aunt Lute Books, 2017), a collection of poetry and essays. ire’ne is the recipient of a 2017 NALAC Fund for the Arts Grant, the final recipient of the Alfredo Cisneros del Moral Award, and was the Fiction Finalist for AROHO’s 2013 Gift of Freedom Award. ire'ne is currently working on her first novel, Naci, and a second collection of short stories titled, the light of your body. Website: irenelarasilva.wordpress.com.

When you think of swinging, what’s the first image that comes to your mind? Some key party in the 1970s? Tom Cruise and Nicole Kidman in masks? A suburban couple revealing their lifestyle on The Oprah Show? I’m going to assume all of those images in your mind have one thing in common. Everybody is white. If you’ve been paying attention you know it’s already dangerous to be driving while Black. Outside a store while Black. Voting while Black. Riding a train while Black. Sitting in your car while Black. Wearing a hoodie while Black. Walking in your neighborhood with a friend while Black. Minding your own damn business inside your own damn apartment while Black. But when it comes being a swinger…do Black people really do that? Yes they do. And for some…it can be, well, interesting. On this episode, I talk to one half of a “rarity” in the swinging community: A Black couple. Pursuing the lifestyle of their choice, both he and his wife have experienced all sorts of interesting comments, rejections and flat out fetishization. My guest discusses what it’s like to be at a sex party with Trump supporters, the crazy expectations or blatant racism they encounter on swinger dating sites and also the historic implications of being a Black man watching your wife have sex with a White man. Everything you think you knew about the lifestyle is about to change. If you'd like to contact my guest Mink and his wife Andy, check out the swinging lifestyle site Kasidie.com and search for MinkandAndy. At the very least, you know it's going to be a funny night. Here's my Medium.com story about the night I dragged my husband to a swinger party for work. It did not go well. It’s important to remember that the racial awareness that's happening right now in this country is not just some trend and we must keep working to educate ourselves and help put an end to systemic racism. White people need to better understand our part in this country’s deeply rooted racist past and the millions of ways we’ve benefited from it without even realizing. There's a lot more work that needs to be done. Please don’t ask or expect Black people to educate you. You have to listen, learn and do the work yourself. Below is a brief list of book to read that will help you better understand centuries of systemic oppression much better. Please do your part to support Black artists, Black-owned business, and try to use your platform to amplify Black voices whenever you can. How to Be an Antiracist/Ibram X. Kendi/2019  White Fragility/Robin J. Diangelo/June 26, 2018 Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race/Beverley Daniel Tatum/2017  White Rage/Carol Anderson/2017  Why I’m No Longer Talking to White People About Race/Renni Eddo-Lodge/2017 Between the World and Me/Ta-Nehisi Coates/2015 The New Jim Crow: Mass Incarceration in the Age of Colorblindness/Michelle Alexander/2010 Eloquent Rage: A Black Feminist Discovers Her Superpower/Brittney Cooper/2018 I Know Why the Caged Bird Sings/Maya Angelou/1969 Just Mercy/Bryan Stevenson/2014 Me and White Supremacy/Layla F. Saad/2020 Raising our Hands/Jenna Arnold/2020 Redefining Realness: My Path to Womanhood, Identity, Love, and So Much More/Janet Mock/2014 The Bluest Eye/Toni Morrison/1970 The Fire Next Time/James Baldwin/1962 This Bridge Called My Back: Writings by Radical Women of Color/Edited by Cherríe Moraga and Gloria E. Anzaldúa/1984 Women, Race, and Class/Angela Davis/1981 Thank you for listening. See you next time!   Please Subscribe and Leave Us a 5-Star Review I’ll be your best friend!  

On this Latinx Podcast Crossover episode, we are joined by our friends Angélica and Jack of Anzaldúing It! We discuss how to navigate conversations around race and gender in non-Black Latinx communities. This is a two part episode--to listen to Part I ("On White Latinx Fragility") check out Anzaldúing It wherever you listen to podcasts. You can also check out the video version of this episode on YouTube.

This week our guest is poet Ysabel Y. Gonzalez, author of Wild Invocations.In this episode, we discuss her writing process, andHow poems build up in the body Creating a container for your workThe magic of revisionAnd more!If you’re a new listener to Fierce Womxn Writing, I would love to hear from you. Please visit my Contact Page and tell me about your writing challenges.Follow this WriterVisit Ysabel Y. Gonzalez’s WebsiteFollow the PodcastVisit the Website for more info on the podcastFollow the HostSlide into Sara Gallagher’s DM’s on InstagramFollow our PartnersVisit QuillsEdge Press (dedicated to the poetry of womxn over 40) and submit for their next anthologyBecome an AdvertiserUse my Contact Page or hit me up on InstaThis Week’s Writing PromptEach week the featured author offers a writing prompt for you to use at home. I suggest setting a timer for 6 or 8 minutes, putting the writing prompt at the top of your page, and free writing whatever comes to mind. Remember, the important part is keeping your pen moving. You can always edit later. Right now we just want to write something new and see what happens.This week’s writing prompt is: Think about praise and celebrating, and how we celebrate our body in particular. Write an ode or a praise poem to a body part. Explore Womxn AuthorsIn this episode, the author recommended these womxn writers:Aracelis Girmay, author of Kingdom AnamaliaAda Limón, author of The CarryingAudre Lorde, Author of Sister OutsiderGloria E. Anzaldúa, Author of Borderlands/La Frontera: The New MestizaEnsure the Podcast ContinuesLove what you’re hearing? Show your appreciation and become a Supporter with a monthly contribution.Check Out More ShowsEpisode 11: T. Susan Chang - Author of Tarot CorrespondencesEpisode 10: Dr. Chloe Schwenke - Author of SELF-ish: A Transgender AwakeningEpisode 9: Tara Lynn Masih - Author of My Real Name is HannaEpisode 8: Elizabeth Bell - Author of The Lazare Family SagaEpisode 7: Dr. Rosenna Bakari - Author of Too Much Love is Not EnoughSupport the show (https://fiercewomxnwriting.com/support)

Just in time before the Oscars 2020, my good friend Leonora joined me to discuss one of the contenders of the night vying for Best Picture, 1917. We also discuss Sam Mendes's debut feature film American Beauty, 20 years after it won the Academy Award for Best Picture. Aside from that, we also talk about rotting corpses, Sundance Festival, rose petals, a single continuous shot, the 2020 Women's March in LA, the awe-inspiring cinematography of Conrad Hall and Roger Deakins, and how an actor's real-life background can color the way you see a film 20 years later.   You can find Leonora on Instagram leonoramakespictures & leonoramakesmovies or her websites www.leonoramakespictures.com & www.leonoramakesmovies.com.  You can find us on Twitter with the handle @mediarevuepod and the #mediarevuepod, email us at mediarevuepod@gmail.com or leave us a voice mail at (407) 603-5847.  Time Stamps: Oscars Talk: 00:10:08 American Beauty: 00:16:48 1917 No Spoilers:00:40:48 1917 Spoilers: 00:50:25 

Cambios, vida, evolución, puntos de vista de la vida antes, después y ahora... gracias Iñaki por compartir

THIS WEEK'S BEST THINGS: Our new kitten: Stokely - https://www.instagram.com/p/B5_8__3ADqL Watchmen: masterful episode “A God Walks into Abar”  Great recap: https://www.rollingstone.com/tv/tv-recaps/watchmen-recap-episode-8-god-walks-into-bar-921528/ In the Heights trailer: https://www.youtube.com/watch?v=U0CL-ZSuCrQ   Mentions: 1960 Ocean’s 11 Gloria E. Anzaldúa quotes - https://www.instagram.com/p/B56RF3ZFv2W/   The My Imaginary Friends podcast is a weekly, behind the scenes look at the journey of a working author navigating traditional and self-publishing. Join fantasy and paranormal romance author L. Penelope as she shares insights on the writing life, creativity, inspiration, and this week's best thing. Subscribe and view show notes at: https://lpenelope.com/podcast Get the Footnotes newsletter - http://lpen.co/footnotes My Imaginary Friends is part of the Frolic Podcast Network. You can find more outstanding podcasts to subscribe to at http://frolic.media/podcasts! Website: https://www.lpenelope.comInstagram: https://www.instagram.com/leslyepenelopeTwitter: http://www.twitter.com/leslyepenelopeFacebook: https://www.facebook.com/authorlpenelope  Music credit: Say Good Night by Joakim Karud https://soundcloud.com/joakimkarudCreative Commons — Attribution-ShareAlike 3.0 Unported— CC BY-SA 3.0 http://creativecommons.org/licenses/by-sa/3.0/Music promoted by Audio Library https://youtu.be/SZkVShypKgM Affiliate Disclosure: I may receive compensation for links to products on this site either directly or indirectly via affiliate links. Heartspell Media, LLC is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com.

Learn about Daniel García Ordaz, his poetry and insights.  He is a poet, songwriter and teacher from McCallen, TX, doing amazing things for his community as the founder of the Rio Grande Valley International Poetry Festival. http://yourartsygirlpodcast.com/episodes You can order here:  https://www.amazon.com/gp/product/B00EYRBUTU/ref=dbs_a_def_rwt_hsch_vapi_tkin_p1_i3   You can order here: https://www.amazon.com/gp/product/B07HWW4BVS/ref=dbs_a_def_rwt_hsch_vapi_tkin_p1_i0   Daniel's Poets & Writers page:  https://www.pw.org/directory/writers/daniel_garcia_ordaz   Email:  poetmariachi@gmail.com Website:  www.amazon.com/Daniel-Garc%25C3%... Twitter:  @poetmariachi RSS feed:  poetmariachi.wixsite.com/blog   Bio:  Daniel García Ordaz is the founder of the Rio Grande Valley International Poetry Festival and the author of You Know What I’m Sayin’? and Cenzontle/Mockingbird. His focus is on the power of language, which he celebrates in his writings and talks. He defended his thesis, Cenzontle/Mockingbird: Empowerment Through Mimicry, to complete his terminal degree, an MFA in Creative Writing from The University of Texas-Rio Grande Valley, and he co-edited Twenty: In Memoriam, a response by poets across the U.S. to the Sandy Hook shootings. García is a teacher and writer, and a recognized voice in Mexican American poetry. His work has appeared in numerous literary journals, academic collections, and anthologies. He was born in Houston and raised in Mission, Texas. His publishing experience including editing and book cover design credits. He appears in the documentary, “ALTAR: Cruzando fronteras/Building bridges" itself an altar offering to the late Chicana scholar and artist Gloria E. Anzaldúa, one of his great influences for this collection. García was one of five authors and the only poet chosen to participate in the Texas Latino Voices project in 2009 by the Texas Center For The Book, the state affiliate of the Library of Congress. He has been a featured reader and guest at numerous literary events, including the Dallas International Book Fair, McAllen Book Festival, Texas Library Association events, TAIR, TABE, and Border Book Bash, among others. García’s work has also appeared in Juventud! Growing up on the Border (VAO Publishing), Poetry of Resistance: Voices For Social Justice (The University of Arizona Press), La Bloga, Left Hand of the Father, Harbinger Asylum, Interstice, Encore: Cultural Arts Source, 100 Thousand Poets For Change, Gallery: A Literary & Arts Magazine (UTRGV), Boundless, and The Mesquite Review, among others. See a videos of him on YouTube and follow him at @poetmariachi.   Cenzontle*   “Mockingbirds don't do one thing but make music for us to enjoy . . . but sing their hearts out for us. That's why it's a sin to kill a mockingbird.” ~Harper Lee, To Kill a Mockingbird And what makes a mockingbird special, anyway? Why it’s the trill from her tongue, the cry from her lungs, the sway of her lips, it’s her dusty, rusty, crusty cries, the trail of tears in her eyes on sheet music playin’, floatin’ and swayin’ to the beat, beat, beating, way-laying, saxopholaying, assaulted, accosted, bushwhacked and busted, cracked open, bruised, banged and accused, flat broke and broken terror bespoken— a token of survivin’, of thrivin’, of juke joint jump jivin’ of death cheaten daily through unwanton wailin’.   Why a mockingbird’s got diamonds at the souls of her blues, whip-lashed back-beats at the edge of her grooves, croons of healing above strangely-fruited plains of grieving. She lets loose veracity with chirps still rising at the edge of a knockabout life, troubled and toiled beat-boxed, embroiled, de-plumed, defaced, ignored, encased, caged and debased ‘cause of the color of her skin. But as the din fades and the cool of eve rolls in, there she stands—chest huff-puffed and proud, unbowed and loud, endowed with the power of flight, under the big dip of night, echoing the ancient Even cry of a lioness defending her pride in that sweet mother tongue: I rise up, and, Adam, I shall not be moved today!   The mockingbird sings what the heart cannot pray. The mockingbird sings what the heart cannot pray.   *Cenzontle is the Nahuatl word for the northern mockingbird, Mimus polyglottos.   Our Serpent Tongue   Your Pedro Infantecide stops here. There shall be no mending of the fence. You set this bridge called my back yard ablaze with partition, division labelization, fronterization y otras pendejadas de alienization Yo soy Tejan@ Mexico-American@ Chican@ Chingad@ Pagan@-Christian@ Pelad@ Fregad@ I flick the slit at the tip of my tongue con orgullo knowing que when a fork drops, es que ¡Ahí viene visita! a woman is coming a woman with cunning a woman sin hombre with a forked tongue is running her mouth—¡hocicona! ¡fregona!— a serpent-tongued ¡chingona! with linguistic cunning a cunning linguist turning her broken token of your colonization into healing y pa’ decir la verdad You are not my equal You cannot speak like me You will not speak for me My dreams are not your dreams My voice is not your voice You yell, “Oh, dear Lord!” in your dreams. I scream “A la Chingada!” in my nightmares Your Pedro Infantecide stops here. There shall be no mending of the fence.    

In this episode, Patti Anahory interviews Gabriela Leandro Pereira, professor of architecture and urbanism at the Federal University of Bahia, Brazil. Professor Gabriela Leandro speaks about her work with Coletiva Terra Preta, a collective of five Afro-Brazilian women who created the podcast series ‘Des-embraquecendo a Cidade’, loosely translated to "de/un-whitening the city". bio Gabriela Leandro Pereira is an architect and urban planner. She graduated from the Federal University of Espírito Santo and obtained her masters and doctorate in Architecture and Urbanism from the Federal University of Bahia, both in Brazil. She won the Thesis Prize with her dissertation entitled "Body, discourse and territory: City in dispute in the narrative of Carolina Maria de Jesus". She is a professor of Architecture and Urbanism at the Federal University of Bahia in Salvador. Her main areas of research and teaching are: narrative, history and memory of the city; the history of architecture and urbanism; contemporary urban processes; urban politics and culture. transcript in **english** available at: https://drive.google.com/open?id=1yUxffdehvZ0iNJ_8B718wljAOzqUBwXr In this episode Gabriela Leandro mentioned: ’Des-embranquecendo a Cidade’ - podcast series https://open.spotify.com/show/32m8V5IJsSlaE55ubXjH00?si=WOh3ft20Q9eozgOXN1Wzag https://www.archdaily.com.br/br/923493/des-embranquecendo-a-cidade Gabriela Leandro Pereira’s PhD thesis: https://www.scribd.com/document/357966861/Tese-gabriela-Leandro-Pereira Colectiva Terra Preta: Emmily Leandro, Gabriela Leandro Pereira (Gaia), Luciana Mairynk, Maria Luiza de Barros(Malu), Natalia Alves: https://medium.com/@terrapreta/des-embranquecendo-a-cidade-c5635dd0c2ff Encontro Nacional da Associação Nacional de Pós-Graduação e Pesquisa em Planejamento Urbano e Regional: http://anpur.org.br/xviiienanpur/anaisadmin/capapdf-sl.php?reqid=179 http://anpur.org.br/xviiienanpur/ Gloria E. Anzaldúa - scholar of Chicana cultural theory, feminist theory, and queer theory Beatriz Nascimento - was an Afro-Brazilian academic and activist Castiel Vitorino - artist, a psychology student and macumba practicer Carolina Maria de Jesus - was a Brazilian writer from São Paulo, Brazil. One of her best known work is her diary which was published as Child of the Dark: The Diary of Carolina Maria de Jesus. Leda Maria Martins - Brazilian poet, essayist, academic and playwright. See [in english] "Spiral Time: An Approach to African-Brazilian Ritual Cosmovision." https://www.youtube.com/watch?v=yGt8Jaeke9Q

This episode is focused on an amazing anthology of creative work by women of color, edited by Gloria Anzaldúa and Cherrie Moraga. Anzaldúa and Moraga created a space for women of color to share their experiences and stories. Each author labored to bring her story to the page and to make her lived experience visible to a wide audience. This work took emotional, intellectual, psychic, and physical strength. Anzaldúa and Moraga labored to ensure that these women's stories could reach a wide audience. This, too, took emotional, intellectual, psychic, and physical labor. We hold this anthology at the same high level of academic theory as other texts we have read and look forward for you to do so, too! Support the show (https://theorymeetspracticepod.blogspot.com/)

Tune in and learn about the inspiration behind the amazing Chicana poet, Ire'ne Lara Siliva's new full-length collection, "Cuicacalli/House of Song". Listen to her as she talks about her insights, aesthetics and philosophies. Please order her book here:Cuicacalli/House of Song.  http://yourartsygirlpodcast.com/episodes Ire’ne Lara Silva is the author of two poetry collections, furia (Mouthfeel Press, 2010) and Blood Sugar Canto (Saddle Road Press, 2016), which were both finalists for the International Latino Book Award in Poetry, an e-chapbook, Enduring Azucares, (Sibling Rivalry Press, 2015), as well as a short story collection, flesh to bone (Aunt Lute Books, 2013) which won the Premio Aztlán. She and poet Dan Vera are also the co-editors of Imaniman: Poets Writing in the Anzaldúan Borderlands, (Aunt Lute Books, 2017), a collection of poetry and essays. ire’ne is the recipient of a 2017 NALAC Fund for the Arts Grant, the final recipient of the Alfredo Cisneros del Moral Award, the Fiction Finalist for AROHO’s 2013 Gift of Freedom Award, and the 2008 recipient of the Gloria Anzaldúa Milagro Award. ire’ne is currently working on her first novel, Naci.  Her new collection of poetry, CUICACALLI/House of Song, is forthcoming from Saddle Road Press in April 2019. For more about her, please visit her website: www.irenelarasilva.wordpress.com

Oscar season is getting close, and what better way to start the New Year 2019 than with a discussion about a movie that is getting a lot of awards attention. We spoke with filmmaker and photographer, Leonora Anzaldúa, and had a discussion about the Netflix film Roma (2018). We touched upon her past projects, as well as what's in store for her in the future and her Portraits Special which you can learn more about by visiting her website leonoramakespictures.com. We also talked about plastic props, the government shutdown, Spider-Man, gymnastics, buffoon men, Mad Max: Fury Road, long continuous shots, singing, the magic of photography and Dora the Explorer. As always, find us on Twitter at @mediarevuepod with #mediarevuepod, email us with questions, comments or suggestions at mediarevuepod@gmail.com or call us and leave a voicemail at (407) 603-5847. If you are so inclined, you can spread the word by sharing this episode and by rating and reviewing our podcast on iTunes.  Episode breakdown: -What's been helping us procrastinate: 31:03 -Favorite Cuarón Flim (not counting Roma): 38:08 -Feature Talk (Roma, No Spoilers): 01:03:58 -Feature Talk (Roma, Spoilers): 01:03:58 -Top 5 of 2019: 1:29:43

Anzaldúing It Podcast hosts and best friends Jackie Caraves and Angélica Becerra join us this week on Courageous Wellness! Jackie and Angélica are two badass PHD candidates living their most authentic lives. They share what it’s like to live in the borderlands as queer latinxs staying on top of their horoscopes and avoiding their dissertations. Today we talk all about astrology, self-care tool kits, mental health, and the importance of living your truth! Anzaldúing It is a podcast that covers topics like self-care, toxic relationships, gender identity, astrology, sexuality, academia and much more. You can follow Jackie and Angélica on Instagram @AnzalduingIt, @Angelicaisaibacerra, and @Getitgirrl.            

On this episode we are joined by our wonderful amigxs Angelica and Jackie of Anzaldúing It! We talk about the latest white male foolery and get to know more about the folks from Anzaldúing It! Music: Childish Gambino "This Is America"

Tony Diaz, El Librotraficante talks with Mezzo-soprano Cecilia Duarte, and Chicana poet Ire’ne Lara Silva. We also address the havoc created by Trump's Deportation Force as experienced by activist and artist Karen, whose father was recently detained by Immigration Officials. Mezzo-soprano Cecilia Duarte created the role of Renata in Cruzar la Cara de la Luna, premiered by Houston Grand Opera in 2010 and revived in 2013. She has toured with this production to Paris, France; Lyric Opera of Chicago; San Diego Opera; Arizona Opera; Fort Worth Opera; and most recently, New York City Opera. She has been active in the circle of contemporary music, giving life to new roles such as Gracie in A Way Home (HGOco world premiere, 2010), Jessie Lydell in A Coffin in Egypt (HGO world premiere, 2014), First responder/Harriet in After the Storm (HGOco world premiere, 2016), Alicia in Some Light Emerges (HGOco world premiere, 2017), as well as chamber pieces. She can be heard in the most recent CD recording of Daniel Catán songs, Encantamiento. An early music enthusiast, Duarte sings often with Ars Lyrica Houston, Merury Houston, the Bach Society Houston, the Festivalensemble in Stuttgart, Germany, and the Festival de Musica Barroca de San Miguel de Allende, Mexico. Other opera roles include Zerlina in Don Giovanni, Sarelda in The Inspector, Tituba in The Crucible, Loma Williams in Cold Sassy Tree, and others. Duarte is also an active jazz singer. Ire’ne Lara Silva is the author of furia (poetry, Mouthfeel Press, 2010) and Blood Sugar Canto (Saddle Road Press, January 2016) which were both finalists for the International Latino Book Award, as well as flesh to bone (short stories, Aunt Lute Books, 2013) which won the 2013 Premio Aztlan. She and poet Dan Vera are also the co-editors of Imaniman: Poets Writing in the Anzaldúan Borderlands, (Aunt Lute Books, 2017), a collection of poetry and essays. Ire’ne lara silva is the recipient of a 2017 NALAC Arts Grant, the 2014 Alfredo Cisneros del Moral Award, the Fiction Finalist for AROHO’s 2013 Gift of Freedom Award, and the 2008 recipient of the Gloria Anzaldua Milagro Award, as well as a Macondo Workshop member and CantoMundo Inaugural Fellow. Board operators: Leti Lopez. Producer: Marlen Treviño. Co-host Lupe Mendez-Librotraficante Lips Mendez. NP Radio airs live Tuesdays 6pm-7pm cst 90.1 FM KPFT Houston, TX. Livestream www.KPFT.org. More podcasts at www.NuestraPalabra.org. Tony Diaz Sundays, Mondays, & Tuesdays & The Other Side Sun 7am "What's Your Point" Fox 26 Houston Mon Noon "The Cultural Accelerator" at www.TonyDiaz.net Tues 6pm NP Lit Radio 90.1 FM KPFT, Houston 24/7 The Other Side TV

In this third episode of Healing Justice Podcast, Dr. Robyn Henderson-Espinoza joins host Kate Werning for a conversation about activist theology in the streets, honoring Trans Day of Remembrance (November 20), how to be human with one another, the politics of radical difference, and loving Trans folks well. As a brand new podcast, we need you to subscribe, give a 5-star rating, and share a positive review to help us continue. Join us in the sustainability and viability of this project and subscribe, rate, & review now!   Check out the incredible guests and topics we'll be featuring coming up and sign up for the email list to hear when new episodes drop at www.healingjustice.org   MEET OUR GUEST: Dr. Robyn Henderson-Espinoza, PhD Knowing intimately that the borderlands are a place of learning and growth, Robyn draws on their identity and heritage as a Trans queer Latinx in everything that they do. From doubt to divine and everywhere in between, their call as an activist-theologian demands the vision to disrupt hegemony and colonialist structures of multi-layered oppressions.  As an anti-oppression, anti-racist, non-binary Trans*gressive Latinx, Robyn takes seriously their call as an activist theologian and ethicist to bridge together theories and practices that result in communities responding to pressing social concerns. Robyn sees this work as a life-orienting vocation, deeply committed to translating theory to practice, and embedded in re-imagining our moral horizon to one which privileges a politics of radical difference. They currently serve as Director of Public Theology Initiatives at Faith Matters Network in Nashville, TN. Find them on their website, on Twitter as @irobyn, and on their Facebook page. On November 19, Robyn will join the 9:30 and 11:45am worship services at Middle Collegiate Church in NYC as part of the celebration of Trans Awareness Week. They will preach a sermon called “And God Hovered Over the Face of the Deep: Transgressing Gender.” Join us there if you’re in NYC, and catch the livestream if you’re elsewhere. More info here.   REFERENCED IN THIS EPISODE Gloria E. Anzaldúa was a queer Chicana poet, writer, and queer and feminist theorist. Her book, Borderlands/La Frontera: The New Mestiza (1987) and her essay, “La Prieta,” are considered to be groundbreaking works in cultural, feminist, and queer theories. Robyn’s article in the Huffington Post, 3/28/2017: “We need to address femmephobia in the queer community” The Radical Copyeditor’s Guide for Writing About Transgender People by Alex Kapitan Details to join Robyn in person or via livestream for their sermon at Middle Collegiate Church Nov 19 Find Robyn on their website, on Twitter as @irobyn, and on their Facebook page   PRACTICE Download the next episode for a simple but profound journaling practice with Robyn. You’ll need a notebook or something to write on and your favorite writing implement. Get ready to be led through some reflection on your identity - inspired by Thomas Aquinas, Robyn puts their own spin on a classic question: “Who am I, and how do I know?”   As a brand new podcast, we need you to subscribe, give a 5-star rating, and share a positive review to help us continue. Join us in the sustainability and viability of this project and subscribe, rate, & review now!   JOIN THE COMMUNITY Check out the incredible guests and topics we'll be featuring coming up and sign up for the email list to hear when new episodes drop at www.healingjustice.org Follow us on Instagram @healingjustice & like our Facebook page We pay for all costs out-of-pocket and this podcast is 100% volunteer-run. Help us cover our costs by becoming a sponsor at patreon.com/healingjustice THANK YOU Mixed and produced by Zach Meyer at the COALROOM Intro and Closing music gifted by Danny O’Brien All visuals contributed by Josiah Werning

This week on StoryWeb: Gloria Anzaldúa’s poem “I Had To Go Down.” Gloria Anzaldúa was a groundbreaking, perhaps even groundclaiming theorist and poet. She is by far best known for her 1987 book, Borderlands/La Frontera. It is much easier to identify it as her most influential and enduring work than it is to place it into a genre. Is it theory? History? Poetry? Memoir? It is all this – and more. Anzaldúa’s work can be challenging. It is a dense text with complex concepts, and some readers find it hard to understand. And it can be unsettling, especially to white (male) readers who might find their notions of privilege and status being called into question. This difficulty – this textual, psychological, social difficulty – is quite deliberate on Anzaldúa’s part. She confronts her readers as she upends dominant views of race, language, white privilege, gender and sexuality, and “ownership” of contested land between the U.S. Southwest and Mexico. In short, Borderlands/La Frontera is not an easy read nor is it intended to be. Despite the challenges the book presents, there are so many wonderful sections and aspects to this multilayered, multifaceted book. Anzaldúa talks a lot about language shifting, new linguistic moves as part of what she calls the New Mestiza Consciousness. “At the confluence of two or more genetic streams,” she says, “with chromosomes constantly ‘crossing over,’ this mixture of races, rather than resulting in an inferior being, provides hybrid progeny, a mutable, more malleable species with a rich gene pool. From this racial, ideological, cultural and biological cross-pollinization, an ‘alien’ consciousness is presently in the making – a new mestiza consciousness. . . . It is a consciousness of the Borderlands.” On one hand, she captures the New Mestiza through her hybrid use of language – as she fluidly moves “from English to Castillian Spanish to the North Mexican dialect to Tex-Mex to a sprinkling of Nahuatl,” often within the same work. It is quite a linguistic feat. But Anzaldúa also demonstrates the New Mestiza Consciousness through her radical mixing of genres. The first half of the book features heady, theoretical essays, geographical history, and personal autobiography. The second half of the book is comprised of powerful and sometimes intensely personal poems. Theory and poetry – two seemingly opposed discourses placed right up against each other in one volume. Self-described as a “chicana dyke-feminist, tejana patlache poet, writer, and cultural theorist,” Anzaldúa creates a new approach to embody the many aspects of her self, of her creativity and consciousness. Perhaps my favorite poem is “I Had To Go Down.” Reminiscent of Adrienne Rich’s poem “Diving into the Wreck,” this poem tells of a narrator slowly going down into a dank, dark cellar. She’s put off the trip to the basement as long as she can – “I hardly ever set foot on the floors below,” she says. But finally, needing to do her laundry, she decides to take the plunge, saying “I should have waited till morning.” As she opens the door to the basement, the narrator discovers that “[t]he steps down had disappeared. . . . / I would have to lower myself / and then drop. . . .” An explorer of sorts, the narrator makes her way into the basement, the moist, dark, musty cellar underneath a house. Basements and cellars are spooky, unsettling, creepy. The narrator encounters spider webs that “[shroud] the narrow windows,” crumbled bricks, old “bedsprings and headboards,” “a broken chair,” and a faded dress. Most pervasive is the dirt – rich, pungent, loamy earth. The narrator says, “A rank earth smell thickened the air in the cavernous room.” But a cellar is also often a place of nourishment – as jars of canned preserves often line the walls. In this poem, what springs to life “into the belly of the house” is “[a] gnarled root,” “a shoot [that] had sprung in the darkness.” “[N]ow a young tree was growing,” the narrator says, “nourished by a nightsun.” The trip downstairs into the dank heart of the house is frightening, but it is the only way the narrator can find this sign of new life. Numerous theories have been offered for this poem. Going down is a metaphor for the writing process, some say. Anzaldúa hints at this meaning when she writes earlier in the book, “Living in a state of psychic unrest, in a Borderland, is what makes poets write and artists create.” Others point to the psychological journey the narrator is on as she delves into the space underneath her house. Our society has “strict taboos against this kind of inner knowledge,” says Anzaldúa. “It fears what [Carl] Jung calls the Shadow, the unsavory aspects of ourselves.” Later in the book, she writes, “Our greatest disappointments and painful experiences – if we can make meaning out of them – can lead us toward becoming more of who we are.” Going down into the basement, in the psychological reading, takes us down into the depths of who we are, brings us face to face with the gnarled root of new life pushing up through the dirt floor. As she claims a rich Chicana identity and a robust Chicano language, Anzaldúa says, “I will no longer be made to feel ashamed of existing. I will have my voice: Indian, Spanish, white. I will have my serpent’s tongue – my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.” To experience firsthand how Anzaldúa broke the silence, get a copy of Borderlands/La Frontera and dive in. Be forewarned: this is not an easy read. It’s technically challenging, and it will make you question what you thought you knew about race, place, language, gender, sexuality, history, and more. But if you go down into the basement with Anzaldúa, you just might find “a young tree” growing in your own consciousness. To learn more about Anzaldúa, you can read a short biography and overview of her work. Emory University places her work in a postcolonial context, and Ms. Magazine offers a retrospective of her career and her impact. Be sure to visit the website for the Gloria E. Anzaldúa Foundation. Those who want to teach Anzaldúa’s work will find Annenberg Learner’s resources very helpful. The National Council of Teachers of English offers the Gloria Anzaldúa Rhetorician Award, while the American Studies Association has the Gloria E. Anzaldúa Award. To go even further, check out the landmark anthology Anzaldúa edited with Cherríe Moraga, This Bridge Called My Back: Writings by Radical Women of Color, and look also at another volume she edited: Making Face, Making Soul/Hacienda Caras: Creative and Critical Perspectives by Feminists of Color. Also worth a read is the University of Texas Press anthology Bridging: How Gloria Anzaldúa’s Life and Work Transformed Our Own, featuring 32 writers paying homage to Anzaldúa. And to delve into all of her writing, look no further than The Gloria Anzaldúa Reader, published by Duke University Press. Encountering Gloria Anzaldúa for the first time can be energizing and challenging, as she calls us to look at the voices from the deep, loamy earth. Start with “I Had to Go Down” in Borderlands/La Frontera, and then consider exploring more of her work. Reading Anzaldúa takes work, but it is effort that is amply rewarded. Visit thestoryweb.com/anzaldua for links to all these resources and to listen to a rare recording of Gloria Anzaldúa reading from unpublished work in 1991 at the University of Arizona Poetry Center.