#chicana literature

[nicduron]

When the forsaken city starts to burn,

after the men and children have fled,

stand still, silent as prey, and slowly turn

back. Behold the curse. Stay and mourn

the collapsing doorways, the unbroken bread

in the forsaken city starting to burn.

Don’t flinch. Don’t join in.

Resist the righteous scurry and instead

stand still, silent as prey. Slowly turn

your thoughts away from escape: the iron

gates unlatched, the responsibilities shed.

When the forsaken city starts to burn,

surrender to your calling, show concern

for those who remain. Come to a dead

standstill. Silent as prey, slowly turn

into something essential. Learn

the names of the fallen. Refuse to run ahead

when the forsaken city starts to burn.

Stand still and silent. Pray. Return.

“Wife’s Disaster Manual” by Deborah Paredez

[wastelandbarbie]

its the end of the semester

and I've been compiling all my course content because at like $3.8k a semester you best believe that i've saving that shit for future reference. and my lit prof who i love and get so shy around bc i have like an academic crush on her, was like "why didn't you read your creative writing pieces for the class, I wish you had because they're so good" and like hhhahhhhhh. I forgot how good I can be at writing and much I love written words. if i could upload my consciousness to a digital form and consume only text i think i would ascend into godhood. you couldnt tell me nothing. its because i can read so fast. i looked at my ao3 and saw that i had somehow blacked out and bookmarked like 50 works overnight (reading so fast does mean that I have to remember to be mindful and slow down sometimes). but yeah, apparently i'm really fine in all my classes. i am not going to fail. i might get a C-B in my linguistics if i don't dominate my exam and submit extra credit. maybe a B in my film class? my internship is credit/no credit. and my literature class I think I might get an A. in all honesty, that's very impressive for me. Like I was also working and had like two people in my life in my life die! One due to overdose, the other due to sickness/domestic violence/disability. I didn't know if I was going to break up with my partner or not (I've decided - no). I haven't seen or talked to my mom in like a month. All that to say that, that six years ago, I would bolted/not asked for help. I would have gotten on the 5 and not looked back. I still struggle a lot with consistency. It's why I have to always wear a watch and try to remember to keep up with records. Because otherwise, I won't remember it. I have to remember.

I also have to finish my research essay -> I'm doing something about the protagonist's roadtrip to Mexico and how that relates to something something queer identity/outsider/outlander status that follows queer-looking couples. it's ambiguous kinda teresa & alicia's relationship, sexually and racially. ppl noted that some editions (library copy, older) has the description on the back say they're both hispanic, even though we're all pretty sure alicia IS a white woman, right? no, she is. I have two letters for that, which is probably more than enough.

The genre is epistolary, a roadtrip to homeland. Need to start talking about how the author has contributed to this literature (1980s Latina/Chicana, sisters of the eighties), where we will be looking to the Lopez article, the literary history. Where does Ana Castillo lie in this pantheon? (would like to use source comparing Cisneros/Castillo form, but will have to choose one for this part, or). Need to talk about this specific entry's significance. Why are we studying this one, etc. etc. etc.

[that-butch-archivist]

"Kim/Clare" by Jean Weisinger

source: The Wild Good: Lesbian Photographs & Writings On Love, edited by Beatrix Gates

[sanse-fierro]

We are woman. Our anger burns cities into nonexistense. Our anguish turns the sun and clouds black. The men are right. We are mad. And they should be scared.

[fepearl19]

While making my business PowerPoint, I created a quote of perfection.

-A.F

[unvielingshamelesspoetics]

How can poetry relay the Mexican-American experience? In my opinion, literary media such as short stories or written poetry can be one of the best forms to encapsulate the realities of the diaspora.

But why do I think that? Well first, let's identify some common themes that characterizes Mexican-American poetry.

Cultural Expression and Identity: Mexican-American poets use poetry to express the richness of their cultural identity (Noel 160). Poets can draw on traditions, customs, folklore, and historical events to create a tapestry that reflects heritage (Noel 160). Through vivid imagery and symbolism, poets such as Sandra Cisneros convey the essence of Mexican/Mexican-American culture and its impact on sense of self.

Exploration of Gender: Mexican-American poets like Cisneros explore gender dynamics within the community. Poetry addresses traditional expectations, stereotypes, and the evolving roles of men and women (Mayock 223). Poetry becomes a medium for challenging cultural norms, creating a space for reflection on the complexities of gender identity within the context of both Mexican and American cultures (Mayock 224).

Migration and Displacement: The theme of migration is also central to many Mexican-American poems/poets. Poets like Cisneros can really capture emotions in the journey of leaving one's home, challenges of adapting to a new culture, and nostalgia for the motherland (Pearce 206). Through poetry, Mexican-American poets can share their narratives, which highlight the resilience needed in order to navigate the complexities of migration (Pearce 208).

[la-poesia-femenina]

Where You From?

Gina Valdés (Estados Unidos, 1943)

Soy de aquí y soy de allá from here and from there born in L.A. del otro lado y de éste crecí en L.A. y en Ensenada my mouth still tastes of naranjas con chile soy del sur y del norte crecí zurda y norteada cruzando fron teras crossing San Andreas Tartamuda Y mareada where you from? soy de aquí y soy de allá I didn’t build this border that halts me the word fron tera splits on my tongue

[ghnosis]

Ghost dissertation bibliography as of 30 May 2024

hey! some of you were curious to read things I'm working on/my bib. my comprehensive exam is 18th June, so these aren't like, FINAL final (in terms of citation formatting), but they're pretty darn close.

I'll probably paste the contextual review document I've been writing for 2 years as well - it's awaiting final say-so from my supervisors right now.

ALDERSLADE, Merlin. 2019. 'How Ghost became the face of the new generation of heavy metal.’ Metal Hammer. May 29 [online] Available at: https://www.loudersound.com/features/how-ghost-became-the-face-of-the-new-generation-of-heavy-metal 

ANZALDÚA, Gloria. 2021. Borderlands/La Frontera: The New Mestiza.  (The Critical Edition, edited by Ricard F. Vivancos-Pérez and Normal Elia Cantú) San Francisco: Aunt Lute Books. 

ANZALDÚA, Gloria. 1991. 'To(o) Queer the Writer – Loca, escritora y chicana.’ In WARLAND, Betsy (ed.). Inversions: Writing by Dykes, Queers, and Lesbians. Vancouver: Press Gang Publishers, 249-264. 

ARROW, V. 2013 ‘Real person(a) fiction’. In JAMIESON, A.(ed.). Fic: Why Fanfiction Is Taking Over the World. Dallas: Smart Pop, 323–32.  

BAKHTIN, Mikhail. 1984. Rabelais and His World. Bloomington: Indiana University Press. 

BARNARD, Ian. 1997. ‘Gloria Anzaldúa’s Queer Mestisaje.’ MELUS. Spring 22(1), 35-53. 

BENNETT, J. 2013. 'Receive the Beast’. Decibel. Issue 100/February, 75-84. 

BENSHOFF, Harry M. 2015. 'The Monster and the Homosexual.' In GRANT, Barry Keith, The Dread of Difference: Gender and the Horror Film. Austin: University of Texas Press, 16-41. 

BIELAK, Zbigniew M. ‘Prequelle.’ [album art] 

BUSSE, Kristina. 2006. ‘My life is a WIP on my LJ: Slashing the slasher and the reality of celebrity and Internet performances.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 207-224. 

BUSSE, Kristina. 2005. ‘Digital Get Down: Postmodern Boy Band Slash and the Queer Female Space.’ In MALCOLM, Cheryl Alexander and NYMAN, Jopi, eros.usa: essays on the culture and literature of desire. Gdańsk: Gdańsk University Press, 103-125. 

BUTLER, Judith. 1990. Gender Trouble. New York: Routledge. 

CHANEY, Keidra and LIEBLER, Raizel. 2006. ‘Me, myself and I: Fan fiction and the art of self-insertion' Bitch. 31, 52-57. 

CHARMAZ, Kathy. 2006. Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis. (2011 reprint) London: SAGE Publications. 

CIXOUS, Hélène. 1976. ‘The Laugh of the Medusa’. Signs. 1(4), 875-893.  

CLIFFORD-NAPOLEONE, Amanda. 2015. 'Living in the margins: Metal’s self-in-reflection.’ Metal Music Studies. 1(3), 379-384. 

CLIFFORD-NAPOLEONE, Amanda. 2015. Queerness in Heavy Metal Music: Metal Bent. New York: Routledge. 

COHEN, Cathy J. 1997. 'Punks, Bulldaggers and Welfare Queens: The Radical Potential of Queer Politics?’ GLQ. 3, 437-465. 

DAWES, Laina. 2013. What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal. Brooklyn: Bazillion Points. 

DAWES Laina. 2015. ‘Challenging an "Imagined Community:” Discussions (or lack thereof) of black and queer experiences within heavy metal culture. Metal Music Studies. 1(3), 385-393. 

DERECHO, Abigail. 'Archontic Literature: A Definition, a History, and Several Theories of Fan Fiction’. In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 61-78. 

DORAN, John. 2012. ‘Mass is in Session.’ Metal Hammer UK. April 2012, 38-47. 

DRISCOLL, Catherine. ‘One True Pairing: the Romance of Pornography and the Pornography of Romance.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 79-96. 

EHRENREICH, Barbara, HESS, Elizabeth, and JACOBS, Gloria. 1992. ‘Beatlemania: Girls Just Want to Have Fun.’ In LEWIS, Lisa A. (ed.). The Adoring Audience: Fan Culture and Popular Media. London: Routledge, 84-106. 

FABBRI, Franco. ‘A Theory of Musical Genres: Two Applications.’ 

FAST, Susan. 1999. ‘Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman’s View of Pleasure and Power in Hard Rock’. American Music. Fall 1999, 17(3), 245-299. 

FAUSTO-STERLING, Anne. 1993. ‘The Five Sexes: Why Male and Female are Not Enough’. The Sciences. March/April 1993, 20-25. 

FAXNELD, Per. 2017. Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture. Oxford: Oxford University Press. 

FIESLER, Casey, MORRISON, Shannon, and BRUCKMAN, Amy S. 2016. ‘An Archive of Their Own: A Case Study of Feminist HCI and Values in Design.’ CHI ‘16 Proceedings of the ACM Conference on Human Factors in Computing Systems. 

FIESLER, Casey. 2019. ‘Ethical Considerations for Research Involving (Speculative) Public Data’. Proc. ACM Hum-Comput. Interact. 3, GROUP, Article 249 (December 2019), 249-249:13. 

FRITH, Simon. 1996. Performing Rites: on the Value of Popular Music. Oxford: Oxford University Press. 

FRITH, Simon, and MCROBBIE, Angela. 1990. 'Rock and Sexuality’. In FRITH, Simon and GOODWIN, Andrew (eds.). On Record: Rock, Pop and the Written Word. London: Routledge, 317-332. 

GARLAND-THOMSON, Rosemarie. 2002. ‘Integrating Disability, Transforming Feminist Theory’. NWSA Journal. Fall 2002, 14(3), 1-32. 

GHOST. 2012. ‘Children! In the wait for some news from the ghoul front, devour some graphics that we applaud here within the ministry...’ October 30, 2012 [Facebook post]. Available at: https://www.facebook.com/thebandghost/posts/297668790339417 

GHOST. 2019. ‘Chapter Seven: New World Redro’. June 13 2019 [YouTube video] Available at: https://www.tumblr.com/ryuzatodraws-archive/672367379880312832/i-remembered-the-jesus-showing-off-his-top?source=share [accessed 30 May 2024] 

GHOST-BAND-AIDS. 2020. ‘Interview with GHOST and TRIBULATION.’ [Tumblr post] Translated from DELASTIK, Anja. 2020. ‘Schlagabtaush: Ghost vs. Tribulation.’ Metal Hammer Germany. March 2020. Available at: https://www.tumblr.com/ghost-band-aids/190811297796/interview-with-ghost-and-tribulation  https://www.metal-hammer.de/schlagabtausch-ghost-vs-tribulation-1424295/ 

GREEN, Shoshanna, JENKINS, Cynthia, and JENKINS, Henry. 1998. ‘Normal Female Interest in Men Bonking: Selections from The Terra Nostra Underground and Strange Bedfellows’. In HARRIS, Cheryl and ALEXANDER, Alison (eds.). Theorizing Fandom: Fans, Subculture, and Identity. Cresskill: Hampton Press. 

HAGEN, Ross. 2015. 'Bandom Ate My Face: The Collapse of the Fourth Wall in Online Fan Fiction’. Popular Music and Society. 38(1), 44-58. 

HALBERSTAM, Judith. 2003. ‘Reflections on Queer Studies and Queer Pedagogy’. In YEP, Gust A, LOVAAS, Karen E., and ELIA, John P. (eds.). Queer Theory and Communication: From Disciplining Queers to Queering the Discipline(s). Binghamton: Harrington Park Press, 361-364. 

HALBERSTAM, Judith. 2005. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press. 

HICKMAN, Langdon. 2023. ‘The Dialectical Satan’. In LUKES, Daniel and PANAYOTOV, Stanimir (eds.). Black Metal Rainbows. Oakland: PM Press, 335-350. 

HILL, Rosemary Lucy. 2016. ‘”Power has a penis”: Cost reduction, social exchange and sexism in metal – reviewing the work of Sonia Vasan’. Metal Music Studies. 2(3), 263-271. 

HILLS, Matt. 2002. Fan Cultures. London: Routledge. 

HINERMAN, Stephen. 1992. '”I’ll Be Here With You”: Fans, Fantasy and the Figure of Elvis’. In LEWIS, Lisa A. (ed.). The Adoring Audience: Fan Culture and Popular Media. London: Routledge, 107-134. 

HOAD, Catherine. 2017. 'Slashing through the boundaries: Heavy metal fandom, fan fiction and girl cultures’. Metal Music Studies. 3(1), 5-22. 

HOOKS, bell. 2015. Feminism: From Margin to Center. New York: Routledge. (third edition) 

HOPPER, Jessica. 2021. The First Collection of Criticism by a Living Female Rock Critic. New York: Farrar, Straus and Giroux. First MCD x FSG Originals Edition. 

HUTCHERSON, Ben and HAENFLER, Ross. 2010. ‘Musical Genre as a Gendered Process: Authenticity in Extreme Metal’. Studies in Symbolic Interactions. Vol 35, 101-121. 

IRIGARAY, Luce. 1989. This Sex Which is Not One. Ithaca: Cornell University Press. 

ISMMS 2023: ‘No Outsides’. (Conference June 3-6, 2023) 

JENKINS, Henry. 2013. Textual Poachers. New York: Routledge. The Classic Edition. 

JONAS, Hans. 1958. The Gnostic Religion. Boston: Beacon Press.  

JONES, Rhian E. and DAVIES, Eli (eds.). 2017. Under My Thumb: Songs That Hate Women and the Women Who Love Them. London: Repeater Books. 

KAPLAN, Deborah. 2006. ‘Construction of Fan Fiction Character Through Narrative.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 134-152. 

KROVATIN, Christopher. 2018. 'Ghost is the Most Try-Hard Satanic Rock Band on Earth’. Vice. 31 May [online]. Available at: https://www.vice.com/en/article/9k8qbe/ghost-is-the-most-try-hard-satanic-rock-band-on-earth [accessed 29 May 2024]. 

LATZKO-TOTH, Guillaume, BONNEAU, Claudine, and MILLETTE, Mélanie. 2017. ‘Small Data, Thick Data: Thickening Strategies for Trace-Based Social Media Research’. In SLOAN, Luke and QUAN-HAASE, Anabel (eds). The SAGE Handbook of Social Media Research Methods. London: SAGE Publications, 199-214. 

LUKES, Daniel and PANAYOTOV, Stanimir. 2023. Black Metal Rainbows. Oakland: PM Press. 

MCINTOSH, Peggy. 1990. ‘White Privilege: Unpacking the Invisible Knapsack’. 

Metal and Religion Conference 2022 

NAMASTE, Viviane. 2009. 'Undoing Theory: The “Transgender Question” and the Epistemic Violence of Anglo-American Feminist Theory.’ Hypatia. 24(3), 11-32. 

PAGELS, Elaine. 1989. The Gnostic Gospels. New York: Random House. (Vintage Books Edition, September 1989.) 

PARR, George. 2023. ‘Rape Culture’. In LUKES, Daniel and PANAYOTOV, Stanimir (eds.). Black Metal Rainbows. Oakland: PM Press, 353-361. 

PASCOE, C.J.. 2011. Dude, You’re a Fag: Masculinity and Sexuality in High School. Berkeley: University of California Press.  

PETROCELLI, Heather Oriana. 2023. Queer for Fear: Horror Film and the Queer Spectator. University of Wales Press. 

REED-DANAHAY, Deborah. 1997. Auto/ethnography: rewriting the self and the social. New York: Berg. 

RICHES, Gabby. 2015. ‘Re-conceptualizing women’s marginalization in heavy metal: a feminist post-structuralist perspective’. Metal Music Studies. 1(2), 263-270. 

RICHES, Gabrielle, LASHUA, Brett, and SPRACKLEN, Karl. 2014. ‘Female, Mosher, Transgressor: A “Moshography” of Transgressive Practices within the Leeds Extreme Metal Scene’. IASPM Journal, 4(1), 87-100.  

ROACH, Emily E. 2018. ‘The homoerotics of the boyband, queerbaiting and RPF in pop music fandoms’, Journal of Fandom Studies. 6(2), 167-186.  

RYUZATODRAWS. 2022. ‘I remembered the “jesus showing off his top surgery scar to the homies" post so heres Trans Copia showing his off!’ [Tumblr post] Available at: https://www.tumblr.com/ryuzatodraws-archive/672367379880312832/i-remembered-the-jesus-showing-off-his-top?source=share 

S_G. 2022. ‘Ghost/Tobias Forge - Hård rock pä export, 2022, (English subtitles) [YouTube user-generated content]. Available at: https://www.youtube.com/watch?v=zPwiFdYJc20 [Accessed Jul. 31 2022] 

SAVIGNY, Heather and SLEIGHT, Sam. 2015. ‘Postfeminism and heavy metal in the United Kingdom: Sexy or sexist?’ Metal Music Studies. 1(3), 341-357. 

SHADRACK, Jasmine Hazel. 2021. Black Metal, Trauma, Subjectivity and Sound : Screaming the Abyss. Bingley, UK: Emerald Publishing. 

SLAVGHOUL. 2019. ‘Tobias on being the sexy face of Satanism.’ Translated from CZARTORYSKI, Bartosz. 2019. ‘Seksowne oblicze satanizmu. Rozmawiamy z liderem zespołu Ghost.’ Available at: https://slavghoul.tumblr.com/post/189496141322/tobias-on-being-the-sexy-face-of-satanism [accessed 29 May 2024]. 

SLAVGHOUL. 2020. Into the Fog. Translated from LAGERGREN, Richard. 2010. ‘In i dimman’. Sweden Rock Magazine. 76. Available at: https://slavghoul.tumblr.com/post/619019726477213697/heres-an-interview-with-papa-from-2010-that-i [accessed 29 May 2024]. 

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SPRACKLEN, Karl. 2020. ‘From The Wicker Man (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism.’ Metal Music Studies. 6(1), 71-86. 

STASI, Mafalda. 2006. ‘The Toy Soldiers from Leeds: The Slash Palimpsest.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 115-133. 

SWIST, Jeremy J. 2019. ‘Satan’s Empire: Ancient Rome’s anti-Christian appeal in extreme metal.’ Metal Music Studies. 5(1), 35-51. 

TEDDLIE, Charles, and TASHAKKORI, Abbas. 2009. Foundations of mixed methods research: integrating quantitative and qualitative approaches in the social and behavioral sciences. Los Angeles: SAGE Publications. 

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[amicide]

serendipity in books! my boyfriend's mom gifts me a prominent book in chicana literature right before i start my journey in chicana art. today I was browsing a museum's giftshop waiting for my class's field trip to start and found a book on Latine culture in the exact small city i was raised in! Let's go. More rep for Midwest Latine people pls

[latamclassiclitbracket]

Borderlands/La Frontera: The New Mestiza - Gloria E. Anzaldúa

Borderlands/La Frontera: The New Mestiza is a 1987 semi-autobiographical work by Gloria E. Anzaldúa that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism. Borderlands is considered to be Anzaldúa’s most well-known work and a pioneering piece of Chicana literature. In an interview, Anzaldúa claims to have drawn inspiration from the ethnic and social community of her youth as well as from her experiences as a woman of color in academia. Scholars also argue that Anzaldúa re-conceptualized the theory of the "mestiza" from the Chicano Movement. Anzaldúa alternates between Spanish and English using a technique such as “code-switching.” Borderlands has been a subject of controversy; it has been promoted in educational spaces for its role in affirming student identity, but also targeted by Arizona House Bill 2281, which banned the teaching of ethnic studies courses and literature that were thought to “promote resentment towards a race or class of people”.

Read more about this novel on Wikipedia.

Borderlands/La Frontera: The New Mestiza - Gloria E. Anzaldúa

Borderlands/La Frontera: The New Mestiza es una obra semi-autobiográfica de 1987 de Gloria E. Anzaldúa que examina la experiencia chicana y latina a través del lente de temas como el género, la identidad, la raza y el colonialismo. Borderlands es considerada la obra más conocida de Anzaldúa y una obra pionera de la literatura chicana. En una entrevista, Anzaldúa afirma haberse inspirado en la comunidad étnica y social de su juventud, así como en sus experiencias como mujer de color en academia. Los especialistas también argumentan que Anzaldúa reconceptualizó la teoría de la "mestiza" del Movimiento Chicano. Anzaldúa alterna entre español e inglés usando una técnica conocida como "code-switching". Borderlands ha sido objeto de controversia; ha sido promovido en espacios educativos por su rol en la afirmación de la identidad estudiantil, pero también ha sido blanco del House Bill 2281 de la Cámara de Representantes de Arizona, que prohibió la enseñanza de cursos de estudios étnicos y literatura que se pensaba que "promovían el resentimiento hacia una raza o clase de personas".

Lee más sobre la autora en Wikipedia.

[nicduron]

Good Boy by Rigoberto González

[rintari]

"Let's do this once more with feeling."

Name: Michelle 

Alias: Spider-woman

Later Alias: Spider-Beam

From: California

Chicana

Spider Society Job: 

At first - Mentor for minors and spider child development. Field work. 

Later - librarian and personal narrative collector.

Michelle was bitten by a radioactive spider in her 20s while in university on a school newspaper job.

She studied communications and literature.

"Knowledge is a right and access should not be a privilege."

She lives in a MCU like universe with lots of other superheroes. She's not the only spider person in her world. There was a Peter Parker, but he's gone now. 

Michelle is from the west coast but got a scholarship to a school in New York. 

After graduating, she moved to New York permanently.

She works/worked as a children's librarian at the New York Public Library.

After being bit, she got the attention of the other spider-women during a villain incident at her work. She threw a book at a villain with enough force to knock them out. 

Their spider senses picked up on each other. 

At that, the spider-woman in red came up and asked, "are you like us?"

"I think so."

She gave Michelle a way to contact them whenever she was ready.

That's how she met Cindy Moon, Silk, and Jessica Drew, Spider-Woman.

She reached out to them soon after. They helped Michelle train her abilities and supplied her with a suit and web shooters. Their work with her is heavily influenced by their past (Silk was trained then locked away for 10 years. Jessica was brainwashed and trained by HYDRA until she escaped their control). They want her to have a better experience.

TO BE CONTINUED!

[sanse-fierro]

I am more than my mother who abandoned her roots

I am more than my father who abandoned his seeds

[fepearl19]

Today I lay to rest the child that wasn’t ready to be fatherless and confused forever.

I lay to rest the teenager with the sore throat from screaming at God during all of her quiet moments.

I lay to rest with them:

The expectations they both had for me. And that of my mothers. And that of my fathers. And of both my countries hold on my self worth.

I present myself in one piece despite thinking I’d never have the honor to bring them all peace.

A.F.L 7/2/23

[unvielingshamelesspoetics]

“It Occurs to Me I Am the Creative/Destructive Goddess Coatlicue” written by Cisneros is a very strong poem that challenges traditional gender roles and societal expectations imposed on women, specifically in a Mexican/Mexican-American context. The poem uses the mythological figure of the Aztec Goddess Coatlicue as a metaphor to convey the speaker’s defiance against these norms. 

Coatlicue, a significant Aztec goddess, represents fertility, motherhood, and the cyclical nature of life and death. By invoking Coatlicue in the title, Cisneros draws upon this myth to establish a parallel between the goddess and herself. The indigenous mythological background adds depth to the poem, as it frames the speaker as a force of nature that embodies creation and destruction, just like the nature of Coatlicue. 

The speaker refuses to conform to traditional gender norms. She declares herself as an “anomaly” who rejects societal norms related to women’s roles (Cisneros, Line 10). The rejection of nurturing, dislike for children, and the absence of typical domestic attributes like a groceries go against the stereotypical image of a woman as a caregiver (Cisneros, Line 10-15). 

The repeated warnings in the poem, such as "you better leave me the hell alone" and "stand back. Warning," emphasize the speaker's determination to assert her individuality (Cisneros, Line 2, 33-34). The urgency in these warnings suggests that the speaker is unapologetic about her non-conformity and demands respect for her autonomy.

Cisneros' reference to "Cordelia cordiality" alludes to traditional feminine virtues associated with politeness and kindness (Cisneros, Line 12). By rejecting these qualities, the speaker disrupts cultural expectations placed on Mexican/Mexican-American women. The poem challenges the idea that women must embody certain traits to be considered acceptable or valuable in society.