Gloria Anzaldúa - Knowledge

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trees. AnaLouise Keating considered omitting Anzaldúa's sexual fantasies involving incest and bestiality for being "rather shocking" and "pretty radical", but Anzaldúa insisted that they remain because "to me, nothing is private." Anzaldúa claimed she had "sexual fantasies about father-daughter, sister-brother, woman-dog, woman-wolf, woman-jaguar, woman-tiger, or woman-panther. It was usually a cat- or dog-type animal." Anzaldúa also specified that she may have "mistaken this connection, this spiritual connection, for sexuality." She was attracted to and later had relationships with both men and women. Although she identified herself as a lesbian in most of her writing and had always experienced attraction to women, she also wrote that lesbian was "not an adequate term" to describe herself. She stated that she "consciously chose women" and consciously changed her sexual preference by changing her fantasies, arguing that "You can change your sexual preference. It's real easy." She stated that she "became a lesbian in my head first, the ideology, the politics, the aesthetics" and that the "touching, kissing, hugging, and all came later". Anzaldúa wrote extensively about her queer identity and the marginalization of queer people, particularly in communities of color.

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Indian aspect of mexicanos by the stories my grandmothers told and by the foods we ate." Despite her family not identifying as Mexican, Anzaldúa believed that "we were still Mexican and that all Mexicans are part Indian." Although Anzaldúa has been criticized by Indigenous scholars for allegedly appropriating Indigenous identity, Anzaldúa claimed that her Indigenous critics had "misread or ... not read enough of my work." Despite claiming to be "three quarters Indian", she also wrote that she was afraid she was "violating Indian cultural boundaries" and afraid that her theories could "unwittingly contribute to the misappropriation of Native cultures" and of "people who live in real Indian bodies." She wrote that while worried that "mestizaje and a new tribalism" could "detribalize" Indigenous peoples, she believed the dialogue was imperative "no matter how risky." Writing about the "Color of Violence" conference organized by

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does not make them out to be the archenemy, because she believes that "casting stones is not the solution" and that racism and sexism do not come from only whites but also people of color. Throughout her life, the inner racism and sexism from her childhood would haunt her, as she often was asked to choose her loyalties, whether it be to women, to people of color, or to gays/lesbians. Her analogy to Shiva is well-fitted, as she decides to go against these conventions and enter her own world: Mundo Zurdo, which allows the self to go deeper, to transcend the lines of convention and, at the same time, to recreate the self and the society. This is for Anzaldúa a form of religion, one that allows the self to deal with the injustices that society throws at it and to come out a better person, a more reasonable person.

196: 886:. The "borderlands" that she refers to in her writing are geographical as well as a reference to mixed races, heritages, religions, sexualities, and languages. Anzaldúa is primarily interested in the contradictions and juxtapositions of conflicting and intersecting identities. She points out that having to identify as a certain, labelled, sex can be detrimental to one's creativity as well as how seriously people take you as a producer of consumable goods. The "new mestiza" way of thinking is illustrated in 1355: 1100:. The latter "...honors Anzaldúa's outstanding career as an independent scholar and her labor as contingent faculty, along with her groundbreaking contributions to scholarship on women of color and to queer theory. The award includes a lifetime membership in the ASA, a lifetime electronic subscription to American Quarterly, five years access to the electronic library resources at the University of Texas at Austin, and $ 500". 44: 559:

our truths. Folks are outcast as a result of speaking and writing with their native tongues. Anzaldúa wants more women writers of color to be visible and be well represented in text. Her essay compels us to write with compassion and with love. For writing is a form of gaining power by speaking our truths, and it is seen as a way to decolonize, to resist, and to unite women of color collectively within the

619:" that will break down barriers and fight against the male/female dualistic norms of gender. The first half of the book is about isolation and loneliness in the borderlands between cultures. The latter half of the book is poetry. In the book, Anzaldúa uses two variations of English and six variations of Spanish. By doing this, she deliberately makes it difficult for non- 289:, was the first owner of the Jesús María Ranch on which she was born. Her mother grew up on an adjoining ranch, Los Vergeles ("the gardens"), which was owned by her family, and she met and married Urbano Anzaldúa when both were very young. Anzaldúa was a descendant of Spanish settlers to come to the Americas in the 16th and 17th centuries. The surname Anzaldúa is of 890:. In education, Anzaldúa's practice of border challenges the traditionally structured binary understanding of gender. It recognizes gender identity is not fixed or singular concept but rather a complex terrain. Encouraged educators to provide a safe and open platform for students to learn, recognize, and identify themselves comfortably. 1227: 558:

An entry in the book, titled "Speaking In Tongues: A Letter To Third World Women Writers", spotlights the dangers Anzaldúa considers women writers of color deal with, dangers that are rooted in a lack of privileges. She talks about the transformation of writing styles and how we are taught not to air

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from Peru). The household she grew up in was one in which the male figure was the authoritarian head, while the female, the mother, was stuck in all the biases of this paradigm. Although this is the difficult position in which white, patriarchal society has cast women of color, gays and lesbians, she

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worlds". The passage describes the identity battles which the author had to engage in throughout her life. Since early childhood, Anzaldúa has had to deal with the challenge of being a woman of color. From the beginnings she was exposed to her own people, to her own family's racism and "fear of women

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Anzaldúa wrote a speech called "Speaking in Tongues: A Letter to Third World Women Writers", focusing on the shift towards an equal and just gender representation in literature but away from racial and cultural issues because of the rise of female writers and theorists. She also stressed in her essay

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The Gloria E. Anzaldúa Poetry Prize is awarded annually, in conjunction with the Anzaldúa Literary Trust, to a poet whose work explores how place shapes identity, imagination, and understanding. Special attention is given to poems that exhibit multiple vectors of thinking: artistic, theoretical, and

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and dirty manipulation" from white people who were buying up land in South Texas through "trickery" and from the behavior of her "very irresponsible grandfather", who lost "a lot of land and money through carelessness". Anzaldúa was left with an inheritance of "a little piece" of 12 acres, which she

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In the same way that Anzaldúa often wrote that she felt that she could not be classified as only part of one race or the other, she felt that she possessed a multi-sexuality. When growing up, Anzaldúa expressed that she felt an "intense sexuality" towards her own father, children, animals, and even

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fashioned for her by her mother in order to disguise her condition. Her mother would also ensure that a cloth was placed in Anzaldúa's underwear as a child in case of bleeding. Anzaldúa remembers, "I'd take out into this shed, wash them out, and hang them really low on a cactus so nobody would see

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Despite the connection between language and identity, Anzaldúa also highlighted that language is a bridge that linked mainstream communities and marginalized communities. She claimed language is a tool that identifies marginalized communities, represents their heritage and cultural backgrounds. The

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Bacchetta, Paola. "Transnational Borderlands. Gloria Anzaldúa's Epistemologies of Resistance and Lesbians 'of Color' in Paris." In El Mundo Zurdo: Selected Works from the Society for the Study of Gloria Anzaldúa 2007 to 2009, edited by Norma Cantu, Christina L. Gutierrez, Norma Alarcón and Rita E.

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is one of the Anzaldúa Trust's trustees. Anzaldúa maintained a collection of figurines, masks, rattles, candles, and other ephemera used as altar (altares) objects at her home in Santa Cruz, California. These altares were an integral part of her spiritual life and creative process as a writer. The

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Anzaldúa emphasized in her writing the connection between language and identity. She expressed dismay with people who gave up their native language in order to conform to the society they were in. Anzaldúa was often scolded for her improper Spanish accent and believed it was a strong aspect to her

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word that means "in the middle", to conceptualize her experience as a Chicana woman. She coined the term "Nepantlera". "Nepantleras are threshold people; they move within and among multiple, often conflicting, worlds and refuse to align themselves exclusively with any single individual, group, or

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Anzaldúa's essay '"La Prieta" deals with her manifestation of thoughts and horrors that have constituted her life in Texas. Anzaldúa identifies herself as an entity without a figurative home and/or peoples to completely relate to. To supplement this deficiency, Anzaldúa created her own sanctuary,

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in Santa Cruz, Anzaldúa accused Native American women of engaging in "a lot of finger pointing" because they had argued that non-Indigenous Chicanas' use of Indigenous identity is a "continuation of the abuse of native spirituality and the Internet appropriation of Indian symbols, rituals, vision

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grandmother described her as "pura indita" due to dark spots on her buttocks. Later, Anzaldúa wrote that she "recognized myself in the faces of the braceros that worked for my father. Los braceros were mostly indios from central Mexico who came to work the fields in south Texas. I recognized the

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of the movements in which she was involved. She challenged these movements in an effort to make real change happen to the world rather than to specific groups. Scholar Ivy Schweitzer writes, "her theorizing of a new borderlands or mestiza consciousness helped jump start fresh investigations in

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honors Anzaldúa, a valued and long-active member of the organization, with the annual Gloria E. Anzaldúa Book Prize, which is designated for groundbreaking monographs in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship.

981:." Juliet Hooker in "Hybrid subjectivities, Latin American mestizaje, and Latino political thought on race" also describes some of Anzaldúa's work as, "deploy an overly romanticized portrayal of indigenous peoples that looks onto the past rather than contemporary indigenous movements". 802:

heritage; therefore, she labels the qualitative labeling of language "linguistic terrorism." She spent a lot of time promoting acceptance of all languages and accents. In an effort to expose her stance on linguistics and labels, Anzaldúa explained, "While I advocate putting Chicana,

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to read. Language was one of the barriers Anzaldúa dealt with as a child, and she wanted readers to understand how frustrating things are when there are language barriers. The book was written as an outlet for her anger and encourages one to be proud of one's heritage and culture.

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and bemoaned the resistance to such an important part of her work. In her later writings, she developed the concepts of spiritual activism and nepantleras to describe the ways contemporary social actors can combine spirituality with politics to enact revolutionary change.

794:. In her writing, Anzaldúa uses a unique blend of eight dialects, two variations of English and six of Spanish. In many ways, by writing in a mix of languages, Anzaldúa creates a daunting task for the non-bilingual reader to decipher the full meaning of the text. 878:("either-or") conception, into academic writing and discussion. In her theoretical works, Anzaldúa called for a "new mestiza," which she described as an individual aware of her conflicting and meshing identities and uses these "new angles of vision" to challenge 435:), Anzaldúa worked as a preschool and special education teacher. In 1977, she moved to California, where she supported herself through her writing, lectures, and occasional teaching stints about feminism, Chicano studies, and creative writing at 675:, Anzaldúa weaves personal narratives into deeply engaging theoretical readings to comment on numerous contemporary issues—including the September 11 attacks, neocolonial practices in the art world, and coalitional politics. She valorizes 770:. During one 1975 psilocybin mushroom trip when she was "stoned out of my head", she coined the term "the multiple Glorias" or the "Gloria Multiplex" to describe her feeling of multiplicity, an insight that influenced her later writings. 816:

connection which language created is two-way, it not only encourage marginalized communities to express themselves, but also calls on mainstream communities to engage with the language and culture of marginalized communities.

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immediately cast her as the "other" because of their bias that being white and fair-skinned means prestige and royalty, when color subjects one to being almost the scum of society (just as her mother had complained about her

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Anzaldúa called for people of different races to confront their fears to move forward into a world that is less hateful and more useful. In "La Conciencia de la Mestiza: Towards a New Consciousness," a text often used in

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and featuring the work of 52 contemporary poets on the subject of Anzaldúa's continuing impact on contemporary thought and culture. On the same day, Google commemorated Anzaldúa's achievements and legacy through a

1104: 1166:, the Gloria Evangelina Anzaldúa Papers, 1942-2004 contains over 125 feet of published and unpublished materials including manuscripts, poetry, drawings, recorded lectures, and other archival resources. 798:, clearly one of the borders Anzaldúa addressed, is an essential feature to her writing. Her book is dedicated to being proud of one's heritage and to recognizing the many dimensions of her culture. 679:

forms and methods of knowing, being, and creating that have been marginalized by Western thought, and theorizes her writing process as a fully embodied artistic, spiritual, and political practice.

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Josefina Saldaña-Portillo's 2001 essay "Who's the Indian in Aztlán?" criticizes the "indigenous erasure" in the work of Anzaldúa as well as Anzaldúa's "appropriation of state sponsored Mexican

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Enslen, Joshua Alma. "Feminist prophecy: a Hypothetical Look into Gloria Anzaldúa's 'La Conciencia de la Mestiza: Towards a new Consciousness' and Sara Ruddick's 'Maternal Thinking.'"

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who kept 60% of what he earned, while 40% went to a white-owned corporation called Rio Farms, Inc. Anzaldúa claimed that her family lost their land due to a combination of both "

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Fishkin, Shelley Fisher. "Crossroads of Cultures: The Transnational Turn in American Studies--Presidential Address to the American Studies Association, November 12, 2004."

2678: 940:. Anzaldúa writes of the oppression she experiences specifically as a woman of color, as well as the restrictive gender roles that exist within the Chicano community. In 5051: 2863:

Blend, Benay. "'Because I Am in All Cultures at the Same Time': Intersections of Gloria Anzaldúa's Concept of Mestizaje in the Writings of Latin-American Jewish Women."

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Adams, Kate. "Northamerican Silences: History, Identity, and Witness in the Poetry of Gloria Anzaldúa, Cherríe Moraga, and Leslie Marmon Silko." Eds. Elaine Hedges and

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together as one language, an idea stemming from her theory of "borderlands" identity. Her autobiographical essay "La Prieta" was published in (mostly) English in

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Solis Ybarra, Priscilla. "Borderlands as Bioregion: Jovita González, Gloria Anzaldúa, and the Twentieth-Century Ecological Revolution in the Rio Grande Valley."

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from the time Texas was part of Mexico, but the land was lost due to "carelessness, through white peoples' greed, and my grandmother not knowing English".

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into her work. She also developed theories about the marginal, in-between, and mixed cultures that develop along borders, including on the concepts of

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ancestry, descending from some of the earliest settlers of the South Texas range country. She has described her father's family as being "very poor

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altar collection is presently housed by the Special Collections department of the University Library at the University of California, Santa Cruz.

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Mundo Zurdo, whereby her personality transcends the norm-based lines of relating to a certain group. Instead, in her Mundo Zurdo, she is like a "

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Hedley, Jane. "Nepantilist Poetics: Narrative and Cultural Identity in the Mixed-Language Writings of Irena Klepfisz and Gloria Anzaldúa."

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on "Decolonial Feminist and Queer Theories: Ch/Xicana and U.S. Latina Interventions" that they co-edited with Norma Alarcon; available at

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examines the condition of women in Chicano and Latino culture. Anzaldúa discusses several critical issues related to Chicana experiences:

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Donadey, Anne. "Overlapping and Interlocking Frames for Humanities Literary Studies: Assia Djebar, Tsitsi Dangarembga, Gloria Anzaldúa."

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Some of Anzaldua's work has been translated into French by Paola Bacchetta and Jules Falquet in a special issue of the French journal

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Yarbro-Bejarano, Yvonne. "Gloria Anzaldúa's Borderlands / La Frontera: Cultural Studies, 'Difference' and the Non-Unitary Subject."

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This article is part of a dossier on GLORIA ANZALDUA edited by Ricardo F. Vivancos for Cuadernos de ALDEEU, Volume 34, Spring 2019.

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social, which is to say, political. First place is publication by Newfound, including 25 contributor copies, and a $ 500 prize.

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Hilton, Liam. "Peripherealities: Porous Bodies; Porous Borders: The 'Crisis' of the Transient in a Borderland of Lost Ghosts."

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is not furthering the cause but instead keeping the same racial division in place. Many of Anzaldúa's works challenge the

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In chapter 3 of the book, titled "Entering Into the Serpent", Anzaldúa discusses three key women in Mexican culture – "

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Spitta, Silvia. Between Two Waters: Narratives of Transculturation in Latin America (Rice UP 1995; Texas A&M 2006)

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Hartley, George. "'Matriz Sin Tumba': The Trash Goddess and the Healing Matrix of Gloria Anzaldúa's Reclaimed Womb."

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them.... My genitals... always a smelly place that dripped blood and had to be hidden." She eventually underwent a

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Yemayá and Oshún. In 1993, she expressed regret that scholars had largely ignored the "unsafe" spiritual aspects of

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of behavior that normalizes women's deference to male authority in her community. She develops the idea of the "new

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Vargas-Monroy, Liliana. "Knowledge from the Borderlands: Revisiting the Paradigmatic Mestiza of Gloria Anzaldúa."

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Mack-Canty, Colleen. "Third-Wave Feminism and the Need to Reweave the Nature/Culture Duality" pp. 154–79, in

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Anzaldúa wrote that her family gradually lost their wealth and status over the years, eventually being reduced to

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condition that caused her to stop growing physically at the age of twelve. As a child, she would wear special

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Pérez, Emma. "Gloria Anzaldúa: La Gran Nueva Mestiza Theorist, Writer, Activist-Scholar" pp. 1–10, in

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One of Anzaldúa's major contributions was her introduction to United States academic audiences of the term

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during the last decade of her life. Drawn from her unfinished dissertation for her PhD in Literature from

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Ramlow, Todd R.. "Bodies in the Borderlands: Gloria Anzaldúa and David Wojnarowicz's Mobility Machines."

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Martinez, Teresa A.. "Making Oppositional Culture, Making Standpoint: A Journey into Gloria Anzaldúa's

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Lioi, Anthony. "The Best-Loved Bones: Spirit and History in Anzaldúa's 'Entering into the Serpent.'"

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Anzaldúa self-identifies in her writing as a feminist, and her major works are often associated with

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the power of writing to create a world that would compensate for what the real world does not offer.

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Herrera-Sobek, María. "Gloria Anzaldúa: Place, Race, Language, and Sexuality in the Magic Valley."

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during her lifetime. In many of her works, she referred to her devotion to la Virgen de Guadalupe (

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Subjectivity, Identity, and the Body: Women's Autobiographical Practices in the Twentieth Century.

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Women Reading, Women Writing: Self-Invention in Paula Gunn Allen, Gloria Anzaldúa and Audre Lorde.

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Almeida, Sandra Regina Goulart. "Bodily Encounters: Gloria Anzaldúa's Borderlands / La Frontera."

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Schweitzer, Ivy (January 2006). "For Gloria Anzaldúa: Collecting America, Performing Friendship".

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Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color

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Theories of the flesh : Latinx and Latin American feminisms, transformation, and resistance

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David, Temperance K. "Killing to Create: Gloria Anzaldúa's Artistic Solution to 'Cervicide'"

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Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Women of Color

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Perez, Rolando (2020). "The Bilingualisms of Latino-a Literatures". In Stavans, Ilan (ed.).

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Rebolledo, Tey Diana. "Prietita y el Otro Lado: Gloria Anzaldúa's Literature for Children."

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without critiquing the racism, anti-blackness, and eugenics within the work of Vasconcelos.

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Alessandri, Mariana (2020). "Gloria Anzaldúa as philosopher: The early years (1962–1987)".

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Anzaldúa described herself as a very spiritual person and stated that she experienced four

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Lavie, Smadar. "Staying Put: Crossing the Israel–Palestine Border with Gloria Anzaldúa."

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Bornstein-Gómez, Miriam. "Gloria Anzaldúa: Borders of Knowledge and (re)Signification."

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Saldívar-Hull, Sonia. "Feminism on the Border: From Gender Politics to Geopolitics."

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deeded over to her mother Amalia. Her maternal grandmother Ramona Dávila had amassed

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Eds. Héctor Calderón and José´David Saldívar. Durham: Duke UP, 1991. 203–220. Print.

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To commemorate what would have been Anzaldúa's 75th birthday, on September 26, 2017

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Schweitzer, Ivy. "For Gloria Anzaldúa: Collecting America, Performing Friendship."

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Criticism in the Borderlands: Studies in Chicano Literature, Culture, and Ideology.

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Reuman, Ann E. "Coming Into Play: An Interview with Gloria Anzaldua" p. 3, in

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Exploring Gloria Anzaldúa’s Methodology in Borderlands/La Frontera—The New Mestiza

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Gloria Anzaldúa and Philosophy: The Concept/Image of the Mestiza—by Rolando Pérez

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Negrón-Muntaner, Frances. "Bridging Islands: Gloria Anzaldúa and the Caribbean."

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contains multiple transformative theories including include the nepantleras, the

583: 230: 212: 3269: 3250: 688: 667:, the book is carefully organized from The Gloria Anzaldúa Papers, 1942–2004 by 509:

theory. Her essays are considered foundational texts in the burgeoning field of

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Esta puente, mi espalda: Voces de mujeres tercermundistas en los Estados Unidos

358: 313: 119: 3392: 2704: 2247: 1933:

Light in the Dark/Luz en lo Oscuro: Rethinking Identity, Spirituality, Reality

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Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Spirituality, Reality,

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on September 26, 1942, the eldest of four children born to Urbano and Amalia (

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Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Spirituality, Reality

616: 476:

Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Spirituality, Reality

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The Gloria E. Anzaldúa Award for Independent Scholars and Contingent Faculty

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In-between : Latina feminist phenomenology, multiplicity, and the self

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Anzaldúa wrote that she did not call herself an "india", but still claimed

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In 2012, she was named by Equality Forum as one of their 31 Icons of the

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Latin American and Latinx philosophy : a collaborative introduction

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Gloria Anzaldúa, "To(o) Queer the Writer—Loca, escritoria y chicana",

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García) Anzaldúa. Her great-grandfather, Urbano Sr., once a precinct

207:(September 26, 1942 – May 15, 2004) was an American scholar of 4991: 3647: 1135: 1074: 961: 907: 903: 795: 705: 498: 234: 43: 3530: 3422: 2872:

Bridging: How Gloria Anzaldua's Life and Work Transformed Our Own

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and incorporated her lifelong experiences of social and cultural

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Finding aid for the Gloria Evangelina Anzaldúa Papers, 1942-2004

2357: 773: 1598:. Voices From the Gaps, University of Minnesota. (handle link: 842: 838: 829: 804: 751: 744: 537: 373: 369: 1660:

Pitts, Andrea J.; Ortega, Mariana; Medina, José, eds. (2020).

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Human Architecture: Journal of the Sociology of Self-Knowledge

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