Product Description

Rooted in Gloria Anzaldúa's experience as a Chicana, a lesbian, an activist, and a writer, the groundbreaking essays and poems in this volume profoundly challenged how we think about identity. Borderlands/La Frontera remapped our understanding of what a "border" is, seeing it not as a simple divide between here and there, us and them, but as a psychic, social, and cultural terrain that we inhabit, and that inhabits all of us. This twentieth-anniversary edition features new commentaries from prominent activists, artists, and teachers on the legacy of Gloria Anzaldúa's visionary work.

Product Details

• Amazon Sales Rank: #31700 in Books
• Published on: 2007-06-01
• Original language: English, Spanish
• Number of items: 1
• Binding: Paperback
• 288 pages

Features

• ISBN13: 9781879960749
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

From Publishers Weekly
Anzaldua is a self-proclaimed borderland beinga Chicana who lives close to the border between Mexico and Texas, who shares several cultures and uses a mixture of languages. With exceptional insight, she creates a mosaic of the marginal person: a person, like herself, who exists in a state of transition, of ambivalence, of conflict; someone who is infused with many cultures yet cannot claim a single one wholly for herself. Her journal is written in earth tones, like an Aztec design, tones that are both engaging and striking. Weaving prose with poetry, Mexican-Indian history with psychology, mythology with philosophy, the author pulls together the frazzled edges of Chicano culture and of her sense of self. Anzaldua is a rebellious and willful talent who recognizes that life on the border"life in the shadows"is vital territory for both literature and civilization.
Copyright 1987 Reed Business Information, Inc.

From Library Journal
Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues. Andrea Caron Kempf, Johnson Cty. Community Coll. Lib., Overland Park, Kan.
Copyright 1987 Reed Business Information, Inc.

Review
Antigua, Mi Diosa
Cagado Abismo, Quiero Saber
Cancion De La Diosa De La Noche
The Cannibal's Cancion
Cervicide
Cihuatlyotl, Woman Alone
Companera, Cuando Amabamos
Corner Of 50th St, And Fifth Ave
Creature Of Darkness
Cultures
Cuyamaca
Don't Give In, Chicanita
El Sonavabitche
En El Nombre De Todas Las Madres Que Han Perdido
En Mi Corazon Se Incuba
Holy Relics
Horse
I Had To Go Down
Immaculate, Inviolate: Como Ella
Interface
La Curandera
Letting Go
Mar De Repollos
Martiz Sin Tumba O
Mujer Cacto
My Black Angelos
No Se Raje, Chicanita
Nopalitos
Poets Have Strange Eating Habits
A Sea Of Cabbages
Sobre Piedras Con Lagartijos
Sus Plumas El Viento
That Dark Shining Thing
To Live In The Borderlands Means You
We Call Them Greasers
White-wing Season
Yo No Fui, Fue Tete
-- Table of Poems from Poem Finder®

Customer Reviews

A complex tapestry exploring the many facets of "mestiza."
Anzaldua weaves a richly complex tapestry which explores many facets of "mestiza" -- of being "caught between" a variety of binary oppositions. Of course, the complicated cultural issues of mestiza are thoroughly addressed in this brilliant, spell-binding book. Also, issues of language (as she weaves a variety of languages and linguistic modes of expression in her text), sexual identity (as a lesbian woman), shamanic consciousness (which she describes as her "waking dream" or the Coatlicue state," and later as the "shamanic state"), and more. The political implications of the book are powerful and engagingly complex. Yet at the same time, the personal and spiritual dimensions of the book are intensly satisfying. I find this book opening up doors of consciousness for me in my own spiritual and creative life. I strongly recommend reading this book at night before going to sleep. It is the kind of literature that expands in the dreaming consciousness.

Borderlands: A place where people can meet

Borderlands/ La Frontera: the new Mestiza by Gloria Anzaldua is a wonderful piece of literature that refreshes and revitalizes the image of both Chicana/os and lesbians in a refreshing manner that exalts the power and possibilities immanent in both these marginalized perspectives. To reader who are skeptical of the legitimacy behind these positions beware, the immediacy of her prose and poetry may just convert you. But, regardless of ones knowledge of either contemporary issues in the more academic realm of queer theory and Chicano studies. The book is a wonderful achievement and insight into both of these very different and yet connected worlds, which are interlaced throughout the work. The English speaking reader may be wary of a book that does not cater to us as a reader-the book contains both passages in English and Spanish-however, even without access to the Spanish passages the book is a good way of getting to know a very different world than what most straight white middle class America is used to.

The Book is composed of seven essays, which is followed by selections of her poetry. However, do not make the mistake that these essays are only dry theoretical, or historical tales, to inform the reader about the plight of lesbians and Chicana/os, even though this is in some sense what these pieces are about. But Anzaldua's means of presenting of factual material is more akin to the poetry in the second half of the book than what we might normally expect. Her mixing of these genre's serves simultaneously to explore new frontiers both in an aesthetic sense and to truly give new life to her subject matter. The result is a work which defies traditional modes of classification while simultaneously breathing an electric passion into the representation of peoples we might easily not have an opportunity to see or hear.

The metaphor of the Borderlands is an apt description of the book as a totality, while within the text this in-between space is central to her understanding of h! erself as a Queer Chicana writer. Anzaldua resists the temptation to stand in either the sexually exclusive camp of Lesbian, or within the Ethnic label of Chicano. Indeed much of the book deals with the discrepancy and reconciliation between these two, and many other, seemingly irreconcilable position. However, the author does not want to leave either of these positions by the wayside. Seeing instead that the uniqueness of her position gives her a power to critique her culture while simultaneously doing so from the very position that often removes her from it, i.e. her sexual orientation. Thus the uniqueness of the work grows out of this lively and powerful acceptance of herself and though we might believe that such a position is foreign to "us," whoever this "us" might be. The reality is that this desire to not lock-down her identity into neat and tidy closed categories might serve to benefit all people regardless of sexual preference, ethnicity, class, gender, age, etc.

Beyond this central theme the essays also present a good source of understanding part of the Chicana/o experience through the dynamic sharing of their mythology, language, and culture. Though we might preface these essays with the notion that this is a creative work the scholarship behind them is evident as well, though not in any sense dry or boring, as some might "naturally" come to associate with academically acceptable material. And though some might come to her book with the assumption that its "just another whining minority voice," such a claim would find little grounds for support within the text, whose tone is more close to political forthrightness than complaining.

But politics aside the reason it is a great read is that it does not fall into an easy category, while at the same time stimulating a lot of thought particularly with regard to assumptions all of us make about sexuality and ethnicity, but also about language and religion. It challenges many and most of our usual way of looking at things. And thoug! h it does question traditional western/American institutions it does so in a way that opens up the possibility for change rather than decrying America as an innately evil, rather it gives us quite an impetus to rethink what we have learned about Chicana/os and people of alternative sexual orientation.

The book is a must read, ultimately not because of who is writing it, but rather because it has something, an energy and authenticity about it, that should appeal to any open minded reader out there. This is not to try to nail her down in a traditional sense as speaking from one selective pulpit, because the authenticity and legitimacy really is something that bleeds out of the truth of her own experiences. As a middle-class white heterosexual man I find the piece refreshing rather than threatening, precisely because it more fully articulates a way of tolerance and understanding of all people, and yet doesn't lead us into a position of loosing a foundation from which to speak words which challenge and insight.

Classic
Not much can be said to some of the postings I see here--to those that suggest the third tier prose, those that call this work "racist," those that implore statements like "I hated it." These are the same people that vote for their own oppression, these are the very people that fancy their success on some sense of entitlement. Relax, you do not have to agree, but hear me out.



Classic. Classic.



With the colorful enagement of gender, consciousness, and subconscious indeterminacy, the creation of a new utopia (racial, linguistic, gender, cultural, etc) is suggested by the prose of self actualization. This book is about all of us--it is about the exchanges we have with domination, be it familial or societal. It's loose diction is its very strength, it does not confide to the subordination of patriachal, hegemonic forces of tradition. The reflexive allegorical stories and unpacking of our human complexity give it a breathing body and a compelling face.



Anzaldua suffered greatly for not writing like "the male pimps," those that claim a fanatical space in some high art and legitimacy canon. It was her filter of difference, it was her cries for something else, that connects with everyone at a spiritual level. I do not know how this can be connected to some mundane powerpoint presentation at a university; this piece involves the full of enagement of mind, body, and soul. To contextualize it--one needs to read consistently. In order to feel out her domain, one must be willing go beyond what "our mom said" or "what our 6th grade teacher" told us about this and that. This about the struggle for agency; this about search for Thoreau's Walden amidst sociohistorical forces that still "do not see."



Welcome it. This classic work of literature, philosophy, education...remains one of the most unrecognized treatises on being and becoming.