Gloria Anzaldúa Research Paper

Espada explains throughout his essay that cultural aggression often leads to minorities uniting together. Espada was apart of an organization fighting for bilingual rights when someone threatened to rip out his tongue for Spanish. He responded with, “‘He can rip my tongue out if he wants. But it won’t work, porque yo hablo español con el corazón’ (‘because I speak Spanish with my heart’)” (97-100). He stands up to a man who threatened him, but still stayed optimistic. His response gathered the crowd together ultimately uniting spanish speaking Latinos. Later on, he read some of his

Gloria Anzaldua’s short essay, Towards a New Consciousness, begins with the description of her mixed culture, a mestiza, and the conflicts she faces in being torn between being Mexican and Native American. Anzaldua expresses her struggle of her torn heritages by describing herself as being caught between two cultures and their values. Instead of being able to love and respect both cultures, Anzaldua feels as if we people feel the need to take up one side of our heritage and end up hating the other part. She paints an image as standing on an opposite side of a riverbank, yelling back and forth answers and questions showing that we eventually end up favoring one side and only getting pieces of the other

Throughout this essay, Anzaldua hold a prideful yet informative tone. When she tells her stories from her childhood, the tone changes to disbelief as she remembers all hardships she had to go through. Anzaldua gives another example of when her teachers mispronounced her name and as she tried to correct them they told her “If she wants

In attempting to reach a higher position in the social hierarchy, nepatleras can become complicit in each others oppression. In order to reach one’s goal, even someone who sees themselves as oppressed has the potential to oppress others that they see as “others.” This definition of other is constantly changing. For instance, two Latinas may think of themselves as “us” when they’re considering race, but become “otras” if one of them is queer. Unlike the old mestiza, which was based on a hierarchy determined by racial purity, Anzaldua suggests that mestiza consciousness can lead to the creation of a New Mestiza, which instead aims to dismantle this hierarchy. The impulse to hurt another individual comes from one’s shadow self, which draws boundaries around race, nationality, gender, and other categories. According to Anzaldua, these fences can offer protection to a group by isolating them from other possibly conflicting groups, but this isolation also takes away the opportunity to look into the lives of these other groups, and gain conocimiento, or knowledge, and empathize with their struggles. Anzaldua states that often, this perceived otherness that we build fences around can be deceptive, and by separating ourselves, we make ourselves weaker by having fewer connections within our ecosystem. In order to become nosotras, which in Anzaldua’s mind

Although I can’t specifically relate to Gloria Anzaldúa’s struggle between her languages in “How to Tame a Wild Tongue,” I can relate to her “kind of dual identity” in which she identifies with neither Anglo-American cultural values nor Mexican cultural values (1566). Being half white, half Chinese, I struggle identifying as either identity, especially because my mom (who is Chinese) never learned Cantonese and largely became Americanized in her childhood. It’s an uncomfortable position to be in when racial and ethnic identity are so significant in America and when I must interact with the world as part of both the majority and the marginalized. Considering my own struggle and the conflict Anzaldúa describes, it became clearer to me the way race relations in American not only marginalize people of color but train our consciousnesses to damage ourselves. Before I turn back to Anzaldúa, a novel I’ve recently read, William Godwin’s Caleb Williams has also been on my mind, particularly in Godwin’s portrayal of how police surveillance transforms us into agents of our own oppression. Although Caleb is a white man, he also experiences a split consciousness as his values and characteristics are whittled away by the paranoia of constant surveillance.

Julia Alvarez is an acclaimed American-Dominican poet and author. She has written many successful books and poems, many of which reflect directly on her life and personal experiences. Because of Alvarez’s American-Dominican background, her poems display diverse, cultural themes. These include what it is like to be American and Dominican and the struggles of moving from the Dominican Republic to the United States. Alvarez has received praise for her ability to write a wide variety of styles, including poems, children's books, young adult novels, and essays. Her success, however, has come from her poetry collections, like Homecoming. These collections show her life in the Dominican Republic and her transition to the United States.

Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative essay, and poetry. What is unique to Anzaldúa is her ability to weave a ‘perfect’ kind of compromised state of mind that melds together the preexisting cultures while simultaneously formulating a fusion of genres that stretches previously

Alberto Rios claims that the border is unnatural, complex, and seen as a boundary. He discusses empathetic relationships in a global society when he uses many literary devices to claim that the border is an unnatural thing in a natural world, it has become so complex that it is unrecognizable, and that many people view it as a boundary when it should be viewed as what joins us together. The border is unnatural because it is something manmade placed in the natural world as if the people believed that it was supposed to be natural as well. What started as a simple rancher’s fence to fix a simple problem, quickly escalated to be something as complex as a third grader trying to understand calculus. The people view the border as a boundary meant to divide when in reality, it is what joins us together as a global society.

In this Chapter I feel that Anzaldua is trying to get the reader to understand the differences and atruggles amongst cultures. The clash of cultures results in mental and emotional confusion. Living inbetween more than one culture, you often get opposing messages from these cultures. Sometimes when living within the Chicana culture common white beleifs conflict with the beleifs of the Mexican culture. They both hold beleifs of the indifinous peopel and their culture. It creates a problem that the dominant cultures views and beleifs are defiant to the others. This is very wrong because it creats the problem of one being superior to the other. This especially relates to the Mexican culture and white culture. This creates the assimilation problem when one culture is not accepted or considered below another.

Anzaldua identifies as a part of an emerging new mestiza consciousness and community, which strives to move beyond simple dualistic thinking and endeavors to “act and not react” This important contradiction lies at the heart of Anzaldua’s analysis. “From this racial, ideological, cultural, and biological cross-pollicization, an ‘alien’ consciousness is presently in the making — a new mestiza consciousness, una conciencia de mujer. It is a consciousness of the Borderlands.” (Anzaldua, 1987, 420). Anzaldua’s proposition of the new consciousness mediates social relations, revolutionary social change, and its wider relevance to feminist theory through discussions of the Borderlands and its implications for ‘identity.’

Anzaldua describes how she experienced the feeling of being deviant towards society and not belonging to the community she lives in, “The queer are the mirror reflecting the heterosexual tribe’s fear: being different, being other than and therefore lesser, therefore sub-human, in-human, non-human” (Anzaldua, 1987). Acknowledging that someone is different from you in their thoughts, opinions, behavior, and appearance is not as easy as it may seem when these qualities matter to you. But acknowledging that being different is not better or worse—it is simply not the same—is what many people fail to do, often without even realizing how intolerant they are. The author herself, however, shows that she is in every way broadminded about her beliefs, her opinions, and even the language she speaks—the book is written equally in English and Spanish. The author naturally switches from one language to the other, showing not simply that she is bilingual, but that she is a human being above all other qualities, and it is the content, the meaning behind words that matters, not the form or language in which they are written.

Gloria Anzaldua concept of borderlands is one of many aspects. To begin it is a place that is consistently transitioning, full of multiple people who are seen as different. The borderlands is also a territory where the third world and the first world meets, specifically it is located in the US -Mexican border. Its where cultures collide, it is what separates us from them and determines what we view safe and unsafe, but most importantly it is an unnatural boundary, made to separate us. The people here are troublesome, they are the queer, the perverse, the mulato, the half breed, in short those who live here are considered different.

One must learn to adjust themselves to the dominant culture while having their own cultural values, Anzaldua called it “plural personality”. Mestiza for her is possibility of thinking at border length. Rejection of binary thinking of border and it system of diffraction. All cultural identity is built in the story that is being told which passed down culture, identity and traditions. This encourages tolerance of ambiguity. There’s no Mestiza for her because it’s tainted and forged through power and domination. It’s a combination of inequality, rejection of traditional culture and the acceptance to create a new culture that gives rise to a new consciousness. Anzalua’s “new” identity is very significant to idea to a certain extent, other than defining herself according to society’s definition of what constitutes being Hispanic

The border between the United States of America and Mexico always had been always a theme for a lot of discussions. And, in the book “Sunshine/Noir II” Juanita Lopez and Michael Cheno described, through texts, their point of view about the topic. Both authors represent that the control of the border has become way more restrict and militarized. In that sense, Michael Wickert presents his idea in a poem form, text named “The border Is a Fight”, that describes the dramas of a Mexican family that has to cross the border every day in a hope to get a better future. Whereas, Juanita Lopez demonstrates it through an essay that uses personal narratives of the author’s relatives to illustrate her point of view. Therefore, the both authors exploit their point of views using different text forms, and figurative images, like metaphors and personification, for delivering their ideas in the way they do.

Borderlands/La Frontera: The New Mestiza by Gloria Anzaldua is full of personal narratives detailing the visible and invisible “ borderlands “ that exist within a race, gender, sexuality, and spirituality. Her essays and poems are based on her own personal experiences as a Chicana and lesbian activist. Through her writing, she challenges the true definition of the borderlands as more than a simple line that divides different cultures. It calls for those who are oppressors to change their attitudes and show support to those of the borderlands. By writing in both English and Spanish she expresses how one language would not be enough to describe her Chicana literature.