Borderlands/La Frontera: The New Mestiza

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tribal cultures. She explains Ethnocentrism as the tyranny of Western aesthetics and talks about the conscious mind, how black and dark may be associated with death, evil and destruction, in the subconscious mind and in our dreams, white is associated with disease, death and hopelessness (69). She goes on to say about dreams how “awakened dreams” are about shifts. Through shifts, reality shifts, and gender shifts, a person metamorphoses it to another in a world where people fly through the air, heal from mortal wounds (70). She says how her writing produces anxiety and makes her look at herself and her experience at understanding her own conflicts, engendering anxiety within herself. That brings about the notion of shifts to borders.

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States. Chicana culture, according to Anzaldúa, no longer identifies with the Spanish father but with the Indian mother. Continuing with the symbol of the serpent, Anzaldúa claims that the Serpent’s mouth is associated with womanhood, which was guarded by rows of dangerous teeth. She also states that it is a symbol of the dark, sexual drive, the chthonic, the feminine, the serpentine movement of sexuality, of creativity, and the basis of all energy and life. She ends the chapter by identifying and thoroughly describing

1684: 2049:, or Anglicized Mexican or Americans of Mexican origin who speak Spanish with an accent characteristic of North Americans and who distort and reconstruct the language according to the influence of English. This person is someone who has betrayed their culture by not properly speaking the language of their homeland. However, Anzaldúa argues that being Mexican is a state of soul, not one of mind, nor one of citizenship. Neither eagle nor serpent, but both. 2062:“My 'stories' are acts encapsulated in time, 'enacted' every time they are spoken aloud or read silently I like to think of them as performers and not as inert and 'dead' objects. Instead, the work has an identity; it is a 'who' or a “what' and contains the presences of persons, that is, incarnations of gods or ancestors or natural and cosmic powers. The work manifests the same needs as a person, it needs to be 'fed,' 152: 1879:

mouth shut, respect men, slave for men, marry a man, and not ask questions. Gloria was not allowed to be "selfish" and if she was not doing something for a man, then it was considered laziness. "Every bit of self-faith I'd painstakingly gathered took a beating daily". She felt her culture taught that it was wrong for her to improve herself but despite the setbacks, she continued on her journey.

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constantly has to shift to different problems who constantly include rather than exclude (78-79). Anzaldúa continues the chapter by writing about the work of the mestiza, whose main job is to break down the subject-object duality that keeps one prisoner. It is clear what Anzaldúa is trying to portray the pain of Indigenous people, the mestiza being a crossbreed, and how one is culture-less.

1765:, according to Anzaldúa, refers to the geographical area that is most susceptible to la mezcla , neither fully of Mexico nor fully of the United States. She also used this term to identify a growing population that cannot distinguish these invisible "borders," who instead have learned to become a part of both worlds, worlds whose cultural expectations they are still expected to abide by. 27: 1860:. She refers to this as “the fiction of White Superiority,” in which the “Anglos” claimed both the territory of and power over its previous Mexican and Indian inhabitants. Anzaldúa contends this displacement of Mexican and Indigenous communities extended beyond the border, as corporations and landowners from the U.S. began to decrease Mexico’s 2131:,” that is, her interchanging usage of Chicano Spanish and English. According to scholar Melissa Castillo-Garsow, Anzaldúa utilizes this style to challenge conventional Western writings, while simultaneously maintaining Borderland’s academic legitimacy by limiting the usage of Spanish and Chicano vernacular in the book. 2181:

the diasporic bodies,” subverting colonial paradigms that have historically excluded Indigenous narratives. Huang also notes Anzaldúa's portrayal of the working Indigenous women along the borders facing economic, racial, and sexual oppression as a means to further confront colonialism through narration.

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portrayed “socially undocumented identity,” describing the deportation of an immigrant named Pedro who despite having been a U.S. Citizen, was coded as an immigrant due to his ethnic identity. Reed-Sandoval further draws on Borderlands’ descriptions of U.S territorial grabs after the Mexican-American

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This chapter covers an overall view on her writing. It tells how she used to tell stories to her sister under the covers at night. How she notices a Mosaic pattern (Aztec-like) emerging pattern (66). Starts talking about modern Western cultures and how they behave differently towards work of art from

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Regardless of the stance she remained after her desexing and the masculinization of religion, she became the largest symbol in Mexican religion, politics, and culture today, surpassing the importance of Jesus and God the Father in the lives of the Mexican population, both in Mexico and in the United

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Anzaldúa challenged all norms in her life; she questioned aspects such as religion, culture, homosexuality, and femininity. All presented barriers that forced her to be someone she was not comfortable being. She did not meet these demands because her identity is grounded in Indian women's history of

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In this first chapter, Anzaldúa argues that land is not the property of European descendants but rather is of Indigenous ancestry, "humankind in the U.S.— the Chicanos' ancient Indian ancestors—was found in Texas and has been dated to 3500 B.C." Further, Anzaldúa describes the removal of Mexican and

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This chapter focuses on language, primarily the different aspects of Spanish and English as people of Mexican descent in the United States speak each. She brings up the struggle of learning a second language as a young girl in school when the educators are attempting to suppress a large part of her

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She recognizes that she challenges social norms and her culture in various ways. She wants to be happy with the way she is, but it causes discomfort within society and her family. By being lesbian, she challenges the norms imposed by the Catholic Church. As a little girl, she was raised to keep her

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maintain adherence to academic norms, Castillo-Garsow argues that Anzaldúa’s work challenges traditional paradigms through her theorization of the “mestiza consciousness” and the intermingling of her own Chicano Spanish with standard academic English, drawing from her background as a Chicana woman.

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Born in the Rio Grande Valley of South Texas on September 26, 1942, Gloria Anzaldúa grew up on a ranch where her parents worked as farmers. In an interview with Professor of Literature Ann E. Reuman, Anzaldúa expresses that her ethnic background and childhood experiences in a southern Texas farming

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s portrayal of indigeneity, arguing that Anzaldúa forefronts narratives of Indigenous identity often excluded within diasporic studies. Through depictions of pandemics nearly eradicating the Native American population, Huang argues that Anzaldúa “remaps the borderlands by following the movement of

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Race scholar Miriam Jiménez Román describes Anzaldúa’s "mestiza consciousness" as an extension of the multicultural project within the United States. Roman argues that due to Anzaldúa’s emphasis on the intermixing of identities and the “elasticity of racial definitions”, the new consciousness that

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details the invisible "borders" that exist between Latinas/os and non-Latinas/os, men and women, heterosexuals and homosexuals, and other groups. Each of the essays and poems draws on the author’s life experiences as a Chicana and lesbian. In both prose and poetry sections, Anzaldúa challenges the

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in the public school system. HB 2281's purpose was to prohibit school districts or other educational institutions from including any courses that were considered to “promote resentment towards a race or class of people” and many other provisions that targeted the ethnic studies programs that were

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re-conceptualizes the binary between “queer” people of color and white “lesbian/gay” people in her theory of the “new mestiza”. Through this, Barnard argues that the book universalizes the queer experience, inviting queer people of all identity categories into this collective consciousness of the

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This chapter also speaks about the mestiza way and how we are people. She states that the dominant white culture is killing us slowly with their ignorance. This is the point in which Anzaldúa starts to speak about the Indigenous people. It ends with Gloria Anzaldúa writing about being back in her

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She ends the chapter with a discourse about Chicano Spanish and its influence on the lives of Chicanas, like Anzaldúa, who grew up believing that they spoke a broken dialect of Spanish. There is an internalization of identification through childhood experiences with culture , which, according to

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In this chapter, Anzaldúa begins by describing the importance of the mirror and what it can symbolize in different cultures. To her, the mirror is a "door through which the soul may ‘pass’ to the other side and didn’t want to accidentally follow father to the place where the souls of the dead

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In 1969 Anzaldúa received her bachelor's degree in English from the University of Texas- Pan American. From there she went onto a master's program at the University of Texas-Austin and graduated with her master's in English and Education in 1972. On May 15, 2004, Gloria Anzaldúa died of diabetes

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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

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is a semi-autobiographical account that contains a mixture of prose and poetry. Anzaldúa alternates between Spanish and English using a technique such as “code-switching.” Additionally, Anzaldúa’s frequent usage of metaphors and imagery has been described by scholars as “poet-shaman aesthetics.”

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Using a critical race lens, Professor of Sociology María L. Amado argues that Anzaldúa subverts colonial paradigms and oppressive racial categories through her utilization of the term "new mestiza", which relies on the inclusion of racial minorities and queer people. Amado contrasts this to the

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as a form of “poet-shaman aesthetics,” which argues that Anzaldúa’s words are intended to have material implications. In particular, Keating draws from interviews in which Anzaldúa describes herself as a “shaman,” serving as an intermediary for individuals to connect them with their cultural

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gets multiple cultures including the Chicana culture. In the book it is stated that a Chicana culture is the white culture attacking common beliefs of the Mexican culture, and both attack commonly held beliefs of the indigenous culture. This chapter is deep on the thought of the mestiza who

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contends that Anzaldúa’s emphasis on intermixing identities through the “mestiza consciousness” reifies current racial hierarchies and inequality. Scholar Ian Barnard argues that Anzaldúa universalizes the queer experience by incorporating various identity categories into her theory of the

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borderlands. Literary scholar Hsinya Huang argues that Borderlands forefronts the often excluded narratives of Indigenous people. Scholar AnaLouise Keating argues that Anzaldúa appropriates Indigenous by referring to herself as “shaman." Professor Amy Reed-Sandoval argues that Anzaldúa’s

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resistance. Instead of moving forward, she feels as if the ideas presented in those circles are regressive and hinder people's growth and happiness. Rebellious actions are a means to disband certain ideologies and show people that some cultural traditions betray their people.

1929:, which translate into “serpent” and “she who wears a serpent skirt,” respectively. In the Aztec-Mexica society, after the trek from Aztlán, women were able to possess property, were gwalees and priestesses, and royal blood ran through the female line. By taking away her 1753:

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

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Sueño con serpientes, con serpientes del mar; con cierto mar, ay de serpientes sueño yo. Largas, transparentes, en sus barrigas llevan lo que puedan arebatarle al amor. Oh, oh, oh, la mató y aparece una mayor. Oh, con much más infierno en

1820:, Professor of Sociology María L. Amado argues that Anzaldúa drew influence for her concept of the “new mestiza” from that of “la Raza mestiza,” a theory of collective identity predicated on notions of racial purity created by philosopher 1904:

I dream of serpents, serpents of the sea, oh, of serpents I dream. Long, transparent, in their bellies they carry all that they can snatch away from love. Oh, oh, oh, I kill one and a larger one appears. Oh, with more hellfire burning

1933:, Guadalupe was deleted and no longer had the serpent/sexuality aspect in her personality. Her story was remade by a male-dominated Aztec-Mexican culture that drove female entities underground by placing male entities in their place. 2080:“From this racial, ideological, cultural and biological crosspollenization, an “alien” consciousness is presently in the making- a new mestiza consciousness, una conciencia demujer. It is a consciousness of the Borderlands.” (77) 2120:

background. Keating contends this role manifests in Anzaldúa’s poetry, with its frequent usages of metaphors and imagery as a means to articulate the experiences of oppressed populations and guide them toward emotional healing.

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state as having duality in life, a synthesis of duality, and a third perspective, something more than mere duality or a synthesis of duality. She concludes this short chapter by describing the moment in which she allowed the

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home, South Texas. How her valley struggles to survive, her father being dead by overwork from farm labor. This ending to her stories speaks towards the land and how it was once Chicano/a, Mexican, Hispanic, and Indigenous.

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ban in the classroom and its implication for student identity. Ríos engaged in a case study of 35 eleventh- and twelfth-grade students in California and their experiences in a Chicano/Latino studies program utilizing a

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Esos movimientos de rebeldía que tenemos en la sangre nosotros los mexicanos surgen como ríos desbocanados en mis venas. Those rebellious movements we Mexicans have in our blood surge like overflowing rivers in my

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borderlands. Barnard notes that this universalization cannot be compared to white-centric depictions of multiculturalism as Anzaldúa references her own experiences as a Chicana and that of other racial minorities.

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conception of a border as a divide and calls for the majority, especially those from the Western culture, to nurture active interest in the oppressed and change their attitudes that foster the growth of borders.

2188:, argues that Anzaldúa appropriates indigeneity in Borderlands, particularly in analogizing her experience to Native Americans and her self-depictions as a “shaman,” which she lent from the indigenous culture. 2903:

Cabrera, Nolan L.; Meza, Elisa L.; Romero, Andrea J.; Cintli Rodríguez, Roberto (March 2013), ""If There is No Struggle, There is No Progress": Transformative Youth Activism and the School of Ethnic Studies",

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culture. She goes as far as saying that the “attack on one’s form of expression with the intent to censor a violation of the First Amendment” and that “wild tongues can’t be tamed, they can only be cut out.”

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state to take control after years of attempting to rule herself. She states that she is never alone and that she is no longer afraid after this moment, when she finally feels complete.

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from a variety of perspectives. Professor María L. Amado describes Anzaldúa’s Borderlands and her theory of “the new mestiza” as one of racial inclusivity. Critical race scholar

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The other Mexico that we have constructed, the space is what has become national territory. This is the work of all our brothers and Latin Americans who have known how to progress.

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El otro Mexico que aca hemos construido, el espacio es lo que ha sido territorio nacional. Este el esfuerzo de todos nuestros hermanos y latinoamericanos que han sabido progressar.

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Scholar Melissa Castillo-Garsow also lends much of Anzaldúa’s influence to her experiences as a woman of color in academia. Rather than having

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was one of the books banned by the Tucson Unified School System in Arizona when enforcing House Bill 2281, which prohibited the teaching of

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and its incorporation into the course helped students confront their various social identities and navigate their educational endeavors.

1526: 586: 1954:"The act of being seen, held immobilized by a glance, and 'seeing through' an experience are symbolized by the underground aspects of 1975:

live." Through this personal anecdote, which becomes relevant to the rest of her chapter, she then transitions into the idea of the

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de los Ríos, Cati V. (March 2013), "A Curriculum of the Borderlands: High School Chicana/o-Latina/o Studies as Sitios y Lengua",

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Román, Miriam Jiménez (2017), "Looking at that Middle Ground: Racial Mixing as Panacea?", in Juan Flores; Renato Rosaldo (eds.),

1997:"And I think, how do you tame a wild tongue, train it to be quiet, how do you bridle and saddle it? How do you make it lie down?" 1563: 1299: 568: 318: 3239: 1519: 1473: 574: 3143: 2864: 1553: 123: 2053:

Anzaldúa, means the different experiences the Chicanas/os have growing up influence the manner in which they see the world.

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that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism.

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and how these different characteristics have affected her life as a Chicana. She continues the chapter by identifying the

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is a semi-autobiographical work of prose and poetry, approaching subjects such as race, gender, class, and identity.

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concept of "old mestiza”, which relies on notions of racial purity and superiority as conceptualized by philosopher

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has been critically analyzed by several scholars through the lens of race, sexuality, indigeneity, and immigration.

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Castillo-Garsow, Melissa (2012), "The Legacy of Gloria Anzaldúa: Finding a Place for Women of Color in Academia",

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contains early portrayals of “socially undocumented identity” by depicting the deportation of U.S. Citizens.

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Amado, María L. (August 2012), "The "New Mestiza," the Old Mestizos: Contrasting Discourses on Mestizaje",

1605: 233: 2284: 498: 2185: 1547: 1309: 907: 852: 453: 280: 3028:"Speculative Realism, Visionary Pragmatism, and Poet-Shamanic Aesthetics in Gloria Anzaldúa—and Beyond" 1106: 403: 333: 1785: 1653: 1610: 1342: 914: 766: 323: 2201:

War as a forced removal of the Mexican and Indigenous people to which the land originally belonged.

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is considered to be Anzaldúa’s most well-known work and a pioneering piece of Chicana literature.

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Professor at the University of California Los Angeles Cati V. de Los Ríos analyzes the impact of

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Anzaldúa also lists eight different varieties of languages spoken by Chicanas/os including:

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One of the main symbols of Mexican religious and mythological culture is that of the snake,

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Jones, Elizabeth; Jones, Elvin; Olson, Jessica; Teale, Rebecca; Curtright, Lauren (2005),

2256:-influenced curriculum that centered the experiences of racial minorities. She found that 1420: 26: 8: 3199: 1533: 685: 647: 518: 468: 2163:

Through the lens of queer theory, literary scholar Ian Barnard contends that Anzaldúa’s

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Chicano Spanish (Texas, New Mexico, Arizona and California have regional variations)

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emerges replicates racial hierarchies and dismisses calls for racial equality.

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or the capacity to see in surface phenomena the meaning of deeper realities.

1413: 1150: 1125: 662: 2988: 1944: 1913:. Anzaldúa, in this chapter, thoroughly outlines the different aspects of 1892: 1332: 1304: 1223: 1155: 976: 921: 886: 771: 751: 746: 728: 718: 592: 393: 3043: 2115:

Literary scholar Ana Louise Keating conceptualizes Anzaldúa’s writings in

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as perceiving a vision of reality in a culture that we all communicate.

1921:, one of Catholicism’s famous pagan entities, through her Indian names 1588: 508: 408: 265: 3118: 2895: 2289: 1979:

state and what being a part of that state entails. She describes the

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Chapter 7: La Conciencia de la Mestiza / Towards a New Consciousness

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Professor of Philosophy Amy Reed-Sandoval contends that Anzaldúa’s

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Barnard, Ian (March 1997), "Gloria Anzaldúa's Queer Mestisaje",

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Chapter 2: Movimientos de Rebeldía y las Culturas que Traicionan

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AnaLouise Keating, professor of Women and Gender Studies at

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Chapter 6: Tlilli, Tlapalli/ The Path of Red and Black Ink

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culture both heavily influenced her work in Borderlands.

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In this chapter, Anzaldúa speaks about the mestiza.

2440: 2438: 2436: 2434: 2380: 1856:Indigenous populations from their land during the 2302: 2123:Another stylistic choice deployed by Anzaldúa in 1841:Chapter 1: The Homeland, Aztlán / El Otro México 3215:Literature by Hispanic and Latino American women 3191: 2431: 2940: 2338: 1816:As the publication of Borderlands followed the 3069:"The injustice of being socially undocumented" 2902: 2807: 3066: 2461: 1718: 3004: 2796: 2529: 2518: 2507: 2496: 3152: 3130:, John Wiley & Sons, pp. 325–336, 2484: 2976:CLCWeb: Comparative Literature and Culture 1725: 1711: 25: 2987: 2176:Literary scholar Hsinya Huang highlights 1945:Chapter 4: La Herencia de Coatlicue/ the 20:Borderlands/La Frontera: The New Mestiza 2857:Borderlands/La Frontera: The New Mestiza 2854: 2847:Borderlands/La Frontera: The New Mestiza 2844: 2733: 2716: 2704: 2692: 2680: 2668: 2656: 2644: 2632: 2620: 2608: 2596: 2584: 2572: 2555: 2543: 2374: 1742:is a 1987 semi-autobiographical work by 1739:Borderlands/La Frontera: The New Mestiza 1086:Borderlands/La Frontera: The New Mestiza 3025: 2873: 2784: 2760: 2748: 2425: 2389: 1300:Mission Cultural Center for Latino Arts 3192: 3084: 2943:Bilingual Review / La Revista Bilingüe 2315: 3125: 2969: 2823: 2772: 2444: 2406: 2357: 2146: 2041:She reserves a section to talk about 3220:LGBT literature in the United States 1992:Chapter 5: How to Tame a Wild Tongue 1887:Chapter 3: Entering Into The Serpent 1067:UCLA Chicano Studies Research Center 1463:DHS v. Regents of the Univ. of Cal. 1400:Espinoza v. Farah Manufacturing Co. 13: 2859:, San Francisco: Aunt Lute Books, 2104: 929:The Revolt of the Cockroach People 14: 3251: 3067:Reed-Sandoval, Amy (2020-02-29), 2222:as one of 38 Best Books of 1987. 1966:which cluster in what I call the 2849:, San Francisco: Aunt Lute Books 2838:10.1111/j.1475-682X.2012.00411.x 1682: 150: 3128:A Companion to Latina/o Studies 2817: 2801: 2790: 2523: 2512: 2501: 2490: 2012:Working class and slang English 1393:San Antonio I.S.D. v. Rodriguez 319:California agricultural strikes 3032:WSQ: Women's Studies Quarterly 2191: 2171: 894:From This Wicked Patch of Dust 1: 3085:Reuman, Ann E. (2000-06-01), 2295: 2225: 2021:North Mexican Spanish dialect 1824:, later adopted by Chicanos. 1803: 950:...y no se lo tragó la tierra 489:Occupation of Catalina Island 2970:Huang, Hsinya (2015-12-31), 2855:Anzaldúa, Gloria E. (2012), 2845:Anzaldúa, Gloria E. (1987), 2242: 2204: 1606:Indigenous Mexican Americans 1310:Self Help Graphics & Art 16:1987 book by Gloria Anzaldúa 7: 3240:Works by Gloria E. Anzaldúa 3230:Mexican-American literature 3210:American poetry collections 3026:Keating, AnaLouise (2013), 2263: 2134: 2064:la tengo que bañar y vestir 908:The Dirty Girls Social Club 281:Treaty of Guadalupe Hidalgo 10: 3256: 3136:10.1002/9781405177603.ch29 1890: 1835: 1107:This Bridge Called My Back 853:Who Would Have Thought It? 3167:10.1007/s11256-012-0224-3 2918:10.1007/s11256-012-0220-7 2249:Borderlands/La Frontera’s 2209: 1611:Punjabi Mexican Americans 1343:Great Wall of Los Angeles 915:The House on Mango Street 767:Mexican-American folklore 499:Plan Espiritual de Aztlán 324:Cantaloupe strike of 1928 117: 109: 97: 89: 79: 69: 59: 51: 43: 33: 24: 2270:History of North America 2186:Texas Woman's University 2178:Borderlands/La Frontera' 2018:Standard Mexican Spanish 1689:United States portal 1100:The Church in the Barrio 960:Poetry and Short Stories 696:Mexican-American cuisine 537:1985–1987 cannery strike 3011:University of Minnesota 2232:Borderlands/La Frontera 2141:Borderlands/La Frontera 2110:Borderlands/La Frontera 1782:Borderlands/La Frontera 1780:Scholars have analyzed 1428:Flores-Figueroa v. U.S. 1272:Royal Chicano Air Force 1131:Coyolxauhqui imperative 943:Under the Feet of Jesus 2989:10.7771/1481-4374.2741 2239:already in existence. 2082: 2068: 1999: 1972: 1907: 1901: 1876: 1853: 1848: 1407:U.S. v. Brignoni-Ponce 1290:Centro de Arte Público 1252:East Los Streetscapers 991:Pensamiento Serpentino 581:Great American Boycott 459:Las Adelitas de Aztlán 429:Conferencia de Mujeres 217:Anti-Mexican sentiment 3205:1980s LGBT literature 3044:10.1353/wsq.2013.0020 2719:, p. 66, 69, 70. 2078: 2060: 1995: 1952: 1902: 1896: 1871: 1849: 1844: 1485:Madrigal v. Quilligan 1442:Mendez v. Westminster 1379:Botiller v. Dominguez 1171:Youth control complex 547:2019 El Paso shooting 504:Plan de Santa Bárbara 399:Católicos por La Raza 329:Citrus Strike of 1936 271:San Elizario Salt War 242:Early-American Period 55:English & Spanish 2826:Sociological Inquiry 2339:Castillo-Garsow 2012 1862:monetary sovereignty 1858:Mexican-American War 1786:Miriam Jiménez Román 1435:Leal Garcia v. Texas 1057:MAS Programs, Tucson 846:Living Up the Street 598:Justice for Janitors 464:Los Siete de la Raza 419:Colegio César Chávez 339:Mexican Repatriation 290:Pre-Chicano Movement 261:Mexican–American War 2808:Cabrera et al. 2013 1919:Virgen de Guadalupe 1474:Federal Court cases 1368:Supreme Court cases 686:New Mexican cuisine 648:Abrazos, no balazos 569:Chicano Art Exhibit 542:1992 Drywall Strike 528:Post-Chicano Period 519:United Farm Workers 469:Los Seis de Boulder 454:Land grant struggle 444:Hijas de Cuauhtémoc 359:Sleepy Lagoon trial 134:Part of a series on 21: 2775:, p. 447–457. 2462:Reed-Sandoval 2020 2409:, p. 325–336. 2377:, p. Preface. 2360:, p. 446–459. 2147:Race and sexuality 1800:class of people”. 1744:Gloria E. Anzaldúa 1510:Population by City 1386:Hernandez v. Texas 1295:Galería de la Raza 1262:Mujeres Muralistas 1161:Spiritual activism 815:Chicano literature 810:Chicana literature 615:South Central Farm 439:East L.A. walkouts 414:Chicano Moratorium 304:Bisbee Deportation 256:Las Gorras Blancas 19: 3145:978-1-4051-7760-3 3007:"Gloria Anzaldúa" 2866:978-1-879960-85-5 2797:Jones et al. 2005 2530:Jones et al. 2005 2519:Jones et al. 2005 2508:Jones et al. 2005 2497:Jones et al. 2005 2285:Latino philosophy 2275:Culture of Mexico 1735: 1734: 1672: 1671: 1654:Mexican Americans 1619: 1618: 1559:Dallas–Fort Worth 1494: 1493: 1456:Perez v. Brownell 1449:Bernal v. Fainter 1421:Medellín v. Texas 1351: 1350: 1281:Art organizations 1179: 1178: 1007: 1006: 984:Moment of Silence 785: 784: 623: 622: 389:Black-brown unity 354:Porvenir Massacre 349:Plan de San Diego 344:Operation Wetback 224: 223: 144:Mexican Americans 129: 128: 124:978-1-879960-12-1 90:Publication place 44:Cover artist 3247: 3185: 3155:The Urban Review 3148: 3121: 3081: 3080: 3079: 3062: 3021: 3000: 2991: 2965: 2936: 2906:The Urban Review 2898: 2869: 2850: 2840: 2811: 2805: 2799: 2794: 2788: 2787:, p. 55–56. 2782: 2776: 2770: 2764: 2763:, p. 53–55. 2758: 2752: 2751:, p. 61–62. 2746: 2737: 2731: 2720: 2714: 2708: 2702: 2696: 2690: 2684: 2678: 2672: 2666: 2660: 2654: 2648: 2642: 2636: 2630: 2624: 2618: 2612: 2606: 2600: 2594: 2588: 2582: 2576: 2570: 2559: 2553: 2547: 2541: 2532: 2527: 2521: 2516: 2510: 2505: 2499: 2494: 2488: 2485:de los Ríos 2013 2482: 2465: 2459: 2448: 2442: 2429: 2423: 2410: 2404: 2393: 2387: 2378: 2372: 2361: 2355: 2342: 2336: 2319: 2313: 2280:Chicano Movement 2154:José Vasconcelos 2015:Standard Spanish 2009:Standard English 1822:José Vasconcelos 1818:Chicano Movement 1756:Chicano Movement 1727: 1720: 1713: 1687: 1686: 1685: 1632: 1631: 1507: 1506: 1364: 1363: 1267:Teatro Campesino 1192: 1191: 1093:Brown, Not White 1034:Chicana feminism 1022: 1021: 901:Mexican WhiteBoy 873:Bless Me, Ultima 829:Autobiographical 798: 797: 762:Lowrider bicycle 636: 635: 603:Murder of Selena 514:Raza Unida Party 374:Chicano Movement 309:Bloody Christmas 239: 238: 165: 164: 154: 131: 130: 81:Publication date 29: 22: 18: 3255: 3254: 3250: 3249: 3248: 3246: 3245: 3244: 3235:Tejana feminism 3190: 3189: 3146: 3077: 3075: 3073:LasVegasSun.com 2867: 2820: 2815: 2814: 2806: 2802: 2795: 2791: 2783: 2779: 2771: 2767: 2759: 2755: 2747: 2740: 2732: 2723: 2715: 2711: 2703: 2699: 2691: 2687: 2679: 2675: 2667: 2663: 2655: 2651: 2643: 2639: 2631: 2627: 2619: 2615: 2607: 2603: 2595: 2591: 2583: 2579: 2571: 2562: 2554: 2550: 2542: 2535: 2528: 2524: 2517: 2513: 2506: 2502: 2495: 2491: 2483: 2468: 2460: 2451: 2443: 2432: 2424: 2413: 2405: 2396: 2388: 2381: 2373: 2364: 2356: 2345: 2337: 2322: 2314: 2303: 2298: 2266: 2245: 2228: 2216:Library Journal 2212: 2207: 2194: 2174: 2149: 2137: 2107: 2105:Genre and style 2077: 2059: 1994: 1951: 1895: 1889: 1870: 1843: 1838: 1813:complications. 1806: 1731: 1683: 1681: 1674: 1673: 1668: 1649:Chicano rappers 1629: 1621: 1620: 1615: 1570: 1504: 1496: 1495: 1490: 1468: 1361: 1353: 1352: 1347: 1314: 1276: 1233:Art Collectives 1228: 1189: 1181: 1180: 1175: 1112: 1071: 1043: 1039:Chicanafuturism 1019: 1017:Chicano studies 1009: 1008: 1003: 955: 936:So Far from God 858: 824: 795: 787: 786: 781: 733: 700: 691:Tex-Mex cuisine 672: 658:Chicano English 633: 625: 624: 619: 609:Proposition 187 558:Arizona SB 1070 523: 404:Centro Cultural 368: 364:Zoot Suit Riots 314:Bracero program 299:1917 Bath riots 285: 236: 226: 225: 162: 98:Media type 82: 74:Aunt Lute Books 38:Gloria Anzaldúa 17: 12: 11: 5: 3253: 3243: 3242: 3237: 3232: 3227: 3222: 3217: 3212: 3207: 3202: 3188: 3187: 3150: 3144: 3123: 3103:10.2307/468217 3082: 3064: 3038:(3–4): 51–69, 3023: 3002: 2967: 2938: 2900: 2888:10.2307/468079 2871: 2865: 2852: 2842: 2832:(3): 446–459, 2819: 2816: 2813: 2812: 2800: 2789: 2777: 2765: 2753: 2738: 2721: 2709: 2697: 2685: 2673: 2661: 2649: 2637: 2625: 2613: 2601: 2589: 2577: 2560: 2548: 2533: 2522: 2511: 2500: 2489: 2466: 2449: 2430: 2411: 2394: 2379: 2362: 2343: 2320: 2300: 2299: 2297: 2294: 2293: 2292: 2287: 2282: 2277: 2272: 2265: 2262: 2244: 2241: 2236:ethnic studies 2227: 2224: 2211: 2208: 2206: 2203: 2193: 2190: 2173: 2170: 2148: 2145: 2136: 2133: 2129:code-switching 2106: 2103: 2076: 2073: 2058: 2055: 2039: 2038: 2028: 2025: 2022: 2019: 2016: 2013: 2010: 1993: 1990: 1950: 1943: 1888: 1885: 1869: 1866: 1842: 1839: 1837: 1834: 1805: 1802: 1733: 1732: 1730: 1729: 1722: 1715: 1707: 1704: 1703: 1702: 1701: 1696: 1691: 1676: 1675: 1670: 1669: 1667: 1666: 1661: 1656: 1651: 1646: 1641: 1635: 1630: 1627: 1626: 1623: 1622: 1617: 1616: 1614: 1613: 1608: 1603: 1602: 1601: 1596: 1594:Nuevomexicanos 1591: 1580: 1577: 1576: 1572: 1571: 1569: 1568: 1567: 1566: 1561: 1551: 1544: 1537: 1530: 1523: 1515: 1512: 1511: 1505: 1502: 1501: 1498: 1497: 1492: 1491: 1489: 1488: 1480: 1477: 1476: 1470: 1469: 1467: 1466: 1459: 1452: 1445: 1438: 1431: 1424: 1417: 1410: 1403: 1396: 1389: 1382: 1374: 1371: 1370: 1362: 1359: 1358: 1355: 1354: 1349: 1348: 1346: 1345: 1340: 1338:Estrada Courts 1335: 1330: 1324: 1321: 1320: 1316: 1315: 1313: 1312: 1307: 1302: 1297: 1292: 1286: 1283: 1282: 1278: 1277: 1275: 1274: 1269: 1264: 1259: 1254: 1249: 1244: 1238: 1235: 1234: 1230: 1229: 1227: 1226: 1221: 1216: 1214:Chicano cinema 1211: 1206: 1200: 1197: 1196: 1190: 1187: 1186: 1183: 1182: 1177: 1176: 1174: 1173: 1168: 1163: 1158: 1153: 1148: 1143: 1138: 1136:Gringo justice 1133: 1128: 1122: 1119: 1118: 1114: 1113: 1111: 1110: 1103: 1096: 1089: 1081: 1078: 1077: 1073: 1072: 1070: 1069: 1064: 1059: 1053: 1050: 1049: 1045: 1044: 1042: 1041: 1036: 1030: 1027: 1026: 1020: 1015: 1014: 1011: 1010: 1005: 1004: 1002: 1001: 994: 987: 980: 973: 965: 962: 961: 957: 956: 954: 953: 946: 939: 932: 925: 918: 911: 904: 897: 890: 883: 876: 868: 865: 864: 860: 859: 857: 856: 849: 842: 839:Always Running 834: 831: 830: 826: 825: 823: 822: 820:Chicano poetry 817: 812: 806: 803: 802: 796: 793: 792: 789: 788: 783: 782: 780: 779: 774: 769: 764: 759: 754: 749: 743: 740: 739: 735: 734: 732: 731: 726: 721: 716: 710: 707: 706: 702: 701: 699: 698: 693: 688: 682: 679: 678: 674: 673: 671: 670: 665: 660: 655: 650: 644: 641: 640: 634: 631: 630: 627: 626: 621: 620: 618: 617: 612: 605: 600: 595: 590: 583: 578: 571: 566: 561: 554: 549: 544: 539: 533: 530: 529: 525: 524: 522: 521: 516: 511: 506: 501: 496: 491: 486: 481: 476: 471: 466: 461: 456: 451: 449:Huelga schools 446: 441: 436: 431: 426: 421: 416: 411: 406: 401: 396: 391: 386: 380: 377: 376: 370: 369: 367: 366: 361: 356: 351: 346: 341: 336: 331: 326: 321: 316: 311: 306: 301: 295: 292: 291: 287: 286: 284: 283: 278: 273: 268: 263: 258: 253: 251:Josefa Segovia 247: 244: 243: 237: 232: 231: 228: 227: 222: 221: 220: 219: 211: 210: 206: 205: 204: 203: 198: 193: 188: 183: 178: 170: 169: 163: 160: 159: 156: 155: 147: 146: 136: 135: 127: 126: 121: 115: 114: 111: 107: 106: 99: 95: 94: 91: 87: 86: 83: 80: 77: 76: 71: 67: 66: 61: 57: 56: 53: 49: 48: 45: 41: 40: 35: 31: 30: 15: 9: 6: 4: 3: 2: 3252: 3241: 3238: 3236: 3233: 3231: 3228: 3226: 3223: 3221: 3218: 3216: 3213: 3211: 3208: 3206: 3203: 3201: 3198: 3197: 3195: 3184: 3180: 3176: 3172: 3168: 3164: 3160: 3156: 3151: 3147: 3141: 3137: 3133: 3129: 3124: 3120: 3116: 3112: 3108: 3104: 3100: 3096: 3092: 3088: 3083: 3074: 3070: 3065: 3061: 3057: 3053: 3049: 3045: 3041: 3037: 3033: 3029: 3024: 3020: 3016: 3012: 3008: 3003: 2999: 2995: 2990: 2985: 2981: 2977: 2973: 2968: 2964: 2960: 2956: 2952: 2948: 2944: 2939: 2935: 2931: 2927: 2923: 2919: 2915: 2911: 2907: 2901: 2897: 2893: 2889: 2885: 2881: 2877: 2872: 2868: 2862: 2858: 2853: 2848: 2843: 2839: 2835: 2831: 2827: 2822: 2821: 2809: 2804: 2798: 2793: 2786: 2781: 2774: 2769: 2762: 2757: 2750: 2745: 2743: 2735: 2734:Anzaldúa 1987 2730: 2728: 2726: 2718: 2717:Anzaldúa 1987 2713: 2707:, p. 78. 2706: 2705:Anzaldúa 2012 2701: 2695:, p. 76. 2694: 2693:Anzaldúa 2012 2689: 2683:, p. 75. 2682: 2681:Anzaldúa 2012 2677: 2671:, p. 68. 2670: 2669:Anzaldúa 2012 2665: 2659:, p. 64. 2658: 2657:Anzaldúa 2012 2653: 2647:, p. 64. 2646: 2645:Anzaldúa 1987 2641: 2635:, p. 60. 2634: 2633:Anzaldúa 2012 2629: 2623:, p. 47. 2622: 2621:Anzaldúa 2012 2617: 2611:, p. 21. 2610: 2609:Anzaldúa 1987 2605: 2599:, p. 15. 2598: 2597:Anzaldúa 1987 2593: 2587:, p. 10. 2586: 2585:Anzaldúa 1987 2581: 2574: 2573:Anzaldúa 1987 2569: 2567: 2565: 2557: 2556:Anzaldúa 1987 2552: 2545: 2544:Anzaldúa 1987 2540: 2538: 2531: 2526: 2520: 2515: 2509: 2504: 2498: 2493: 2486: 2481: 2479: 2477: 2475: 2473: 2471: 2463: 2458: 2456: 2454: 2446: 2441: 2439: 2437: 2435: 2428:, p. 35. 2427: 2422: 2420: 2418: 2416: 2408: 2403: 2401: 2399: 2391: 2386: 2384: 2376: 2375:Anzaldúa 2012 2371: 2369: 2367: 2359: 2354: 2352: 2350: 2348: 2340: 2335: 2333: 2331: 2329: 2327: 2325: 2317: 2312: 2310: 2308: 2306: 2301: 2291: 2288: 2286: 2283: 2281: 2278: 2276: 2273: 2271: 2268: 2267: 2261: 2259: 2255: 2250: 2240: 2237: 2233: 2223: 2221: 2217: 2202: 2199: 2189: 2187: 2182: 2179: 2169: 2166: 2161: 2157: 2155: 2144: 2142: 2132: 2130: 2127:is known as “ 2126: 2121: 2118: 2113: 2111: 2102: 2098: 2095: 2091: 2087: 2081: 2072: 2067: 2065: 2054: 2050: 2048: 2044: 2036: 2032: 2029: 2026: 2023: 2020: 2017: 2014: 2011: 2008: 2007: 2006: 2003: 1998: 1989: 1987: 1982: 1978: 1971: 1969: 1965: 1961: 1957: 1948: 1942: 1940: 1934: 1932: 1928: 1924: 1920: 1916: 1912: 1906: 1900: 1894: 1884: 1880: 1875: 1865: 1863: 1859: 1852: 1847: 1833: 1830: 1825: 1823: 1819: 1814: 1810: 1801: 1798: 1794: 1792: 1787: 1783: 1778: 1775: 1771: 1768: 1764: 1759: 1757: 1751: 1749: 1745: 1741: 1740: 1728: 1723: 1721: 1716: 1714: 1709: 1708: 1706: 1705: 1700: 1697: 1695: 1692: 1690: 1680: 1679: 1678: 1677: 1665: 1662: 1660: 1657: 1655: 1652: 1650: 1647: 1645: 1644:Chicano poets 1642: 1640: 1639:Chicano films 1637: 1636: 1634: 1633: 1625: 1624: 1612: 1609: 1607: 1604: 1600: 1597: 1595: 1592: 1590: 1587: 1586: 1585: 1582: 1581: 1579: 1578: 1574: 1573: 1565: 1562: 1560: 1557: 1556: 1555: 1552: 1549: 1545: 1542: 1538: 1535: 1531: 1528: 1524: 1521: 1517: 1516: 1514: 1513: 1509: 1508: 1500: 1499: 1487: 1486: 1482: 1481: 1479: 1478: 1475: 1472: 1471: 1465: 1464: 1460: 1458: 1457: 1453: 1451: 1450: 1446: 1444: 1443: 1439: 1437: 1436: 1432: 1430: 1429: 1425: 1423: 1422: 1418: 1416: 1415: 1414:Plyler v. Doe 1411: 1409: 1408: 1404: 1402: 1401: 1397: 1395: 1394: 1390: 1388: 1387: 1383: 1381: 1380: 1376: 1375: 1373: 1372: 1369: 1366: 1365: 1357: 1356: 1344: 1341: 1339: 1336: 1334: 1331: 1329: 1326: 1325: 1323: 1322: 1318: 1317: 1311: 1308: 1306: 1303: 1301: 1298: 1296: 1293: 1291: 1288: 1287: 1285: 1284: 1280: 1279: 1273: 1270: 1268: 1265: 1263: 1260: 1258: 1255: 1253: 1250: 1248: 1247:Culture Clash 1245: 1243: 1240: 1239: 1237: 1236: 1232: 1231: 1225: 1222: 1220: 1217: 1215: 1212: 1210: 1207: 1205: 1202: 1201: 1199: 1198: 1194: 1193: 1185: 1184: 1172: 1169: 1167: 1164: 1162: 1159: 1157: 1154: 1152: 1151:New tribalism 1149: 1147: 1144: 1142: 1139: 1137: 1134: 1132: 1129: 1127: 1126:Barrioization 1124: 1123: 1121: 1120: 1116: 1115: 1109: 1108: 1104: 1102: 1101: 1097: 1095: 1094: 1090: 1088: 1087: 1083: 1082: 1080: 1079: 1075: 1074: 1068: 1065: 1063: 1060: 1058: 1055: 1054: 1052: 1051: 1048:Organizations 1047: 1046: 1040: 1037: 1035: 1032: 1031: 1029: 1028: 1024: 1023: 1018: 1013: 1012: 1000: 999: 995: 993: 992: 988: 986: 985: 981: 979: 978: 974: 972: 971: 967: 966: 964: 963: 959: 958: 952: 951: 947: 945: 944: 940: 938: 937: 933: 931: 930: 926: 924: 923: 919: 917: 916: 912: 910: 909: 905: 903: 902: 898: 896: 895: 891: 889: 888: 884: 882: 881: 877: 875: 874: 870: 869: 867: 866: 862: 861: 855: 854: 850: 848: 847: 843: 841: 840: 836: 835: 833: 832: 828: 827: 821: 818: 816: 813: 811: 808: 807: 805: 804: 800: 799: 791: 790: 778: 775: 773: 770: 768: 765: 763: 760: 758: 755: 753: 750: 748: 745: 744: 742: 741: 737: 736: 730: 727: 725: 722: 720: 717: 715: 712: 711: 709: 708: 704: 703: 697: 694: 692: 689: 687: 684: 683: 681: 680: 676: 675: 669: 666: 664: 663:Chicano names 661: 659: 656: 654: 651: 649: 646: 645: 643: 642: 638: 637: 629: 628: 616: 613: 611: 610: 606: 604: 601: 599: 596: 594: 591: 589: 588: 584: 582: 579: 577: 576: 572: 570: 567: 565: 562: 560: 559: 555: 553: 550: 548: 545: 543: 540: 538: 535: 534: 532: 531: 527: 526: 520: 517: 515: 512: 510: 507: 505: 502: 500: 497: 495: 492: 490: 487: 485: 482: 480: 477: 475: 472: 470: 467: 465: 462: 460: 457: 455: 452: 450: 447: 445: 442: 440: 437: 435: 432: 430: 427: 425: 422: 420: 417: 415: 412: 410: 407: 405: 402: 400: 397: 395: 392: 390: 387: 385: 382: 381: 379: 378: 375: 372: 371: 365: 362: 360: 357: 355: 352: 350: 347: 345: 342: 340: 337: 335: 332: 330: 327: 325: 322: 320: 317: 315: 312: 310: 307: 305: 302: 300: 297: 296: 294: 293: 289: 288: 282: 279: 277: 274: 272: 269: 267: 264: 262: 259: 257: 254: 252: 249: 248: 246: 245: 241: 240: 235: 230: 229: 218: 215: 214: 213: 212: 208: 207: 202: 199: 197: 194: 192: 189: 187: 184: 182: 179: 177: 174: 173: 172: 171: 167: 166: 158: 157: 153: 149: 148: 145: 141: 138: 137: 133: 132: 125: 122: 120: 116: 112: 108: 104: 100: 96: 93:United States 92: 88: 84: 78: 75: 72: 68: 65: 62: 58: 54: 50: 47:Pamela Wilson 46: 42: 39: 36: 32: 28: 23: 3161:(1): 58–73, 3158: 3154: 3127: 3094: 3090: 3076:, retrieved 3072: 3035: 3031: 3019:11299/167856 3010: 2979: 2975: 2946: 2942: 2909: 2905: 2882:(1): 35–53, 2879: 2875: 2856: 2846: 2829: 2825: 2818:Bibliography 2803: 2792: 2785:Keating 2013 2780: 2768: 2761:Keating 2013 2756: 2749:Keating 2013 2712: 2700: 2688: 2676: 2664: 2652: 2640: 2628: 2616: 2604: 2592: 2580: 2575:, p. 7. 2558:, p. 4. 2551: 2546:, p. 1. 2525: 2514: 2503: 2492: 2426:Barnard 1997 2390:Keating 2013 2257: 2253: 2248: 2246: 2231: 2229: 2219: 2215: 2213: 2197: 2195: 2183: 2177: 2175: 2164: 2162: 2158: 2150: 2140: 2138: 2124: 2122: 2116: 2114: 2109: 2108: 2099: 2093: 2089: 2085: 2083: 2079: 2069: 2063: 2061: 2051: 2046: 2042: 2040: 2034: 2030: 2004: 2000: 1996: 1985: 1980: 1976: 1973: 1967: 1963: 1959: 1955: 1953: 1946: 1938: 1935: 1931:Coatlalopeuh 1930: 1926: 1923:Coatlalopeuh 1922: 1918: 1914: 1910: 1908: 1903: 1897: 1893:Coatlaxopeuh 1881: 1877: 1872: 1854: 1850: 1845: 1828: 1826: 1815: 1811: 1807: 1796: 1795: 1790: 1781: 1779: 1773: 1772: 1766: 1762: 1760: 1752: 1747: 1738: 1737: 1736: 1664:Bibliography 1525:California ( 1483: 1461: 1454: 1447: 1440: 1433: 1426: 1419: 1412: 1405: 1398: 1391: 1384: 1377: 1333:Chicano Park 1305:Precita Eyes 1224:Tortilla art 1156:Rasquachismo 1105: 1098: 1091: 1085: 1084: 996: 989: 982: 977:I Am Joaquin 975: 968: 948: 941: 934: 927: 922:The Rain God 920: 913: 906: 899: 892: 887:Desert Blood 885: 878: 871: 851: 844: 837: 772:Pancho Claus 747:Cal-Style VW 729:Tejano music 724:Chicano soul 719:Chicano rock 607: 593:Farah strike 585: 573: 556: 394:Brown Berets 3097:(2): 3–45, 2949:(1): 3–11, 2810:, p. 9 2316:Reuman 2000 2258:Borderlands 2254:Borderlands 2220:Borderlands 2218:recognized 2198:Borderlands 2192:Immigration 2172:Indigeneity 2165:Borderlands 2139:Anzaldúa’s 2125:Borderlands 2117:Borderlands 1964:Tlazolteotl 1939:la facultad 1829:Borderlands 1797:Borderlands 1791:Borderlands 1774:Borderlands 1767:Borderlands 1763:Borderlands 1748:Borderlands 1589:Californios 1575:Multiethnic 1527:Los Angeles 1328:Balmy Alley 1209:Chicano art 1204:Chicana art 1141:Nahui Ollin 714:Chicano rap 564:Castro 2020 552:Abolish ICE 3200:1987 books 3194:Categories 3078:2020-05-08 2773:Amado 2012 2445:Huang 2015 2407:Román 2017 2358:Amado 2012 2296:References 2226:Censorship 2094:La mestiza 2090:la mestiza 2086:La mestiza 1960:Cihuacoatl 1899:digestión. 1891:See also: 1804:Background 1546:Nebraska ( 1539:Michigan ( 1532:Illinois ( 1503:Population 1195:Visual Art 1188:Visual art 801:Literature 794:Literature 509:Quinto Sol 409:Chicanismo 334:La Matanza 276:Sonoratown 266:Mutualista 3183:144218962 3175:0042-0972 3111:0163-755X 3052:1934-1520 2998:1481-4374 2955:0094-5366 2934:143501883 2926:0042-0972 2290:Spanglish 2243:Influence 2230:In 2010, 2205:Reception 1986:Coatlicue 1981:Coatlicue 1977:Coatlicue 1968:Coatlicue 1956:Coatlicue 1947:Coatlicue 1927:Coatlicue 1915:la víbora 1911:la víbora 1761:The term 1584:Blaxicans 1518:Arizona ( 1319:Locations 1166:Vergüenza 998:The Moths 970:Emplumada 880:Caballero 777:Zoot suit 103:paperback 70:Publisher 3060:84745269 2963:24705991 2912:(1): 9, 2264:See also 2135:Analysis 2066:." 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