Chicano literature

Luis J. Rodriguez (2009)

Chicano literature is an aspect of Mexican-American literature that emerged from the cultural consciousness developed in the Chicano Movement.^[1][2] Chicano literature formed out of the political and cultural struggle of Chicana/os to develop a political foundation and identity that rejected Anglo-American hegemony.^[1][3] This literature embraced the pre-Columbian roots of Mexican-Americans, especially those who identify as Chicana/os.^[3][4]

Chicano literature first emerged in the mid-1960s and is notable for its early embrace of Spanglish in published literature as well as its use of hybrid forms and styles.^[2][5] Chicana/o writers often include earlier published literature as residing within or as being a precursor to the tradition.^[6][7] In addition to prose, Chicano poetry and playwriting are included as forms of Chicano literature.^[3][5]

History

Chicano literature in the Chicano Movement

Octavio Romano helped establish Quinto Sol in 1967. It was the first publisher focused on Chicano literature.

Chicano prose was established as a distinct literary tradition in the mid-1960s.^[1] José Antonio Villarreal’s Pocho (1959) is commonly cited as the first widespread Chicano novel.^[3] Poets and writers in the 1960s defined themselves in their own terms, different from the white Anglo-Saxon protestant gaze that, as written by Alurista, sought to "keep Mexicans in their place."^[8]

The first publishing house dedicated to Chicana/o writers was Quinto Sol, which was established in 1967 by Andres Ybarra, Nick Vaca, and Octavio Romano.^[1] Early works which became benchmark's in the field of Chicano literature were Tomás Rivera’s ...y no se lo trago la tierra (1971) and Rudolfo Anaya's Bless Me, Ultima (1972).^[1] Bless Me, Ultima used colloquial Spanglish in its linguistic form and inspired others to develop their own approach to Chicana/o themes.^[2] Anaya is sometimes cited as the 'father' of Chicano literature.^[9]

In a 1979 essay on Chicano literature, Arnulfo D. Trejo wrote that this literature was important in establishing a unique self-image for the Chicano: "the Chicano self-portrait is long overdue."^[3] Trejo outline six qualities of the Chicano novel or narrative fiction:^[3]

1. Social and political autonomy for La Raza
2. True-to-life experiences of the Chicana/o
3. Focused on the contemporary, yet grounded in history
4. Characters are real or relatable people
5. Use of English and Spanish
6. A greater message for the reader^[3]

By these criteria, in 1977 he named the following works as examples of Chicano novels: Chicano (1970) by Richard Vasquez, Rivera's ...y no se lo trago la tierra (1971), (3) Anaya's Bless Me, Ultima (1972), and Peregrinos de Aztlán (1974) by Miguel Méndez.^[3] Aside from narrative fiction, other notable works included Abelardo Delgado's poetry in 25 Pieces of a Chicano Mind (1969),^[5] Oscar Zeta Acosta's autobiographies The Autobiography of a Brown Buffalo (1972) and The Revolt of the Cockroach People (1973).^[10] In 1977, Trejo acknowledged that there was an "omission of Chicano women in Chicano literature."^[3]

Chicana literary developments

This section is an excerpt from Chicana literature.[edit]

Gloria Anzaldúa. Oakland, Ca. 1988, queer Chicana poet author of Borderlands/La Frontera: The New Mestiza (1987).

Chicana literature is a form of literature that has emerged from the Chicana Feminist movement. It aims to redefine Chicana archetypes, in an effort to provide positive models for Chicanas. Chicana writers redefine their relationships with what Gloria Anzaldúa has called "Las Tres Madres" of Mexican culture (i.e. Our Lady of Guadalupe, La Malinche, and La Llorona), by depicting them as feminist sources of strength and compassion.^[11]

According to the Encyclopedia of Race, Ethnicity and Society, "Chicana feminist writings helped to develop a discourse in opposition to the Eurocentric frameworks." Chicana writing grew out of Chicana feminism, through the feminist journals founded since the 1960s – one of which led to Norma Alarcón's Third Woman Press, the assertions of Chicana feminism in essays, and the portrayal of the gender crisis in the Chicano Movement in the poetry and fiction of Chicana authors.^[12]

Indigenous thematic developments

In the 1960s and 1970s, Chicano literature tended to primarily focus on a connection with Aztec history and culture, particularly through the homeland of Aztlán.^[4] One exception was Pensamiento Serpentino (1973) by Luis Valdez, which drew on the Mayan concept of In Lak'ech ("you are the other me").^[13]

Later developments in the 1980s and 1990s, particularly by Chicana authors, began to expand this focus to include many different Indigenous peoples of Mexico and connected to their struggles.^[4] Novels by Estela Portillo-Trambley and Graciela Limón referenced Rarámuri ancestry.^[4] Lucha Corpi and others referenced Yaqui ancestry.^[4] Ana Castillo and Chicano poet Juan Felipe Herrera have referenced Mayan ancestry and themes in their work.^[4]

Forms and styles

Chicano prose

Chicano prose is unique as a literary tradition for its strong embrace of hybridity in both its form and style. This often meant the inclusion or embrace of Spanish or Spanglish, the use of themes related to magical realism, and a integration of different literary genres into one work, such as fiction and autobiography.^[2][3]

Chicano poetry

This section is an excerpt from Chicano poetry.[edit]

Chicano poet Alurista performing a poetry reading (1982)

Chicano poetry is a subgenre of Chicano literature that stems from the cultural consciousness developed in the Chicano Movement.^[14] Chicano poetry has its roots in the reclamation of Chicana/o as an identity of empowerment rather than denigration.^[15][16] As a literary field, Chicano poetry emerged in the 1960s and formed its own independent literary current and voice.^[14][17]

Chicano playwriting

Chicano playwriting emerged in the 1960s firstly through the work of Luis Valdez with Teatro Campesino.^[3] Chicano playwriting emerged with a dedication to the farmworker's political struggle for rights.^[3] Valdez himself stated: "We don’t think in terms of art," but in terms of message to the audience.^[3] By 1973, there were about thirty Chicano theater groups, including Teatro de la Esperanza under Jorge A. Huerta.^[3]

References

1. Castillo, Rafael C. (2019). "Chicano Literature". Oxford Bibliographies. Retrieved 2023-01-25. Chicano literature is therefore written by a group of people who identify with the political, cultural, and social Chicano movement... to document the history of Chicano consciousness in the United States... Chicano literature then becomes a response and counter-narrative to the hegemony of American literature that excluded ethnic voices not germane to the Anglo-American literary heritage.
2. "Introduction to Chicano Literature". anaya.unm.edu. Retrieved 2023-01-25. Although "Chicano" and "Mexican-American" are often used interchangeably, the former indicates an added political sensibility; an asserted self-awareness of a cultural identity that cannot be separated from social and material struggles for equality and inclusion.
3. Trejo, Arnulfo D. (1979). "As We See Ourselves in Chicano Literature". University of Arizona Press. Retrieved 2023-01-26.
4. Martínez, Elizabeth (2001-04-01). "Maya Theme s in U. S . Latino/Chicano Literature". NACCS Annual Conference Proceedings: 147–150.
5. "TSHA | Chicano Literary Renaissance". www.tshaonline.org. Retrieved 2023-01-26.
6. Staff, Daily Chela (2023-01-10). "A 400 Year Visual History Of Chicano Literature". The Daily Chela. Retrieved 2023-01-25.
7. "Chicano Literature". The New York Times. 1981-11-22. ISSN 0362-4331. Retrieved 2023-01-26.
8. Alurista (1981). "Cultural Nationalism and Xicano Literature during the Decade of 1965-1975". MELUS. 8 (2): 22–34. doi:10.2307/467145. ISSN 0163-755X. JSTOR 467145.
9. Parnell, Lindsay (2012-05-15). "Rudolfo Anaya: Father of Chicano Literature". Culture Trip. Retrieved 2023-01-26.
10. Augenbraum, Harold; Stavans, Ilan (1993). Growing Up Latino: Memoirs and Stories. Houghton Mifflin Harcourt. pp. xvii. ISBN 978-0-395-66124-6.
11. Herrera 2014.
12. Schaefer 2008, pp. 490–493.
13. Marie Contreras, Sheila (2009). Blood Lines: Myth, Indigenism, and Chicana/o Literature. University of Texas Press. pp. 85–88. ISBN 9780292782525.
14. Sedano, Michael Victor (1980). Chicanismo in Selected Poetry from the Chicano Movement, 1969-1972: A Rhetorical Study. University of Southern California. pp. 2–4.
15. Ramírez, Catherine Sue (2000). The Pachuca in Chicana/o Art, Literature and History: Reexamining Nation, Cultural Nationalism and Resistance. University of California, Berkeley. pp. 178, 198.
16. Villa, Raúl (2017-10-23), Flores, Juan; Rosaldo, Renato (eds.), ""El Louie" by José Montoya: An Appreciation", A Companion to Latina/o Studies, Oxford, UK: Blackwell Publishing Ltd, pp. 180–184, doi:10.1002/9781405177603.ch16, ISBN 978-1-4051-7760-3, retrieved 2023-01-25
17. Pérez-Torres, Rafael (1995). Movements in Chicano poetry : against myths, against margins. Cambridge: Cambridge University Press. ISBN 0521470196. OCLC 30783346.

Works cited

• Herrera, Cristina (2014). Contemporary Chicana Literature: (Re)Writing the Maternal Script. Amherst, NY: Cambria Press. ISBN 9781604978759.
• Schaefer, Richard T., ed. (2008). Feminism, Latina. Vol. 1. Thousand Oaks, CA: Sage Publications. ISBN 9781452265865. {{cite book}}: |work= ignored (help)