Showing posts with label Chicana Matters Series. Show all posts
Showing posts with label Chicana Matters Series. Show all posts

Monday, May 23, 2011

Journal of the History of Sexuality :: With Her Machete in Her Hand

With Her Machete in Her Hand
by Catrióna Rueda Esquibel
Buy It Now  
With Her Machete in Her Hand
reviewed in Journal of the History of Sexuality
Volume 20, Number 2, May 2011
Reviewed by Rita E. Urquijo-Ruiz

Arriving at the University of California, Riverside, the first member of my extended family to go to college, I read everything my professors recommended. Such experts, however, did not assign any texts that spoke directly to me and my experiences as a young woman of working-class Mexican descent who had begun to question her sexuality. Always the precocious and studious type, I associated with mostly senior activist Chicana/o students who educated me outside the classroom by suggesting reading materials. I could hardly wait to begin reading three books on Chicana/Latina sexuality that a friend had recommended: The Sexuality of Latinas (1989), edited by Norma Alarcón, Cherríe Moraga, and Ana Castillo; The Mixquiahuala Letters (1986), A. Castillo's first novel; and the foundational text This Bridge Called My Back: Writings by Radical Women of Color (1981), edited by Cherríe Moraga and Gloria Anzaldúa. I devoured such texts because they validated my experiences and empowered me as a Chicana lesbian. As a professor and specialist in queer Chicana/o literature and culture, I continue to search the field for texts to offer to my students and incorporate into my work.

In With Her Machete in Her Hand: Reading Chicana Lesbians, part of the Chicana Matters series, Catrióna Rueda Esquibel has done the arduous and necessary research to bring it all together. This text will be essential in the field of Chicana/o studies in general and Chicana/o feminist and queer literature in particular. Scholars in fields like gender studies and English literature would also benefit from incorporating this book into their literary canons.

Tuesday, May 10, 2011

La Bloga :: Our Lady of Controversy

Our Lady of Controversy
Edited by Alicia Gaspar de Alba
 and Alma López
Review: Alicia Gaspar de Alba and Alma López, eds.
Our Lady of Controversy


by Michael Sedano

The first time I saw Alma López’s take on la Virgen de Guadalupe I laughed at the audacity of the finely crafted photograph. The artist has the goddess proclaim “when all your hieratic stuff is said and done, and you’ve prayed to and idolized me, remember this: I am a woman.”

The woman in López’s photograph poses arms akimbo, head tilted. Her face stares straightforwardly out, unsmiling lips expressing ‘what are you looking at?’ confidence.

Some viewers were looking outragedly at the figure’s floral bikini. Then the naked breasts of the putto at la Virgen’s feet. All Hell broke loose, propelling López to well-earned prominence among American artists, as well as enduring scorn from nattering whatevers.

At the time, López likened the scourging to a 21st century inquisition, cites Alicia Gaspar de Alba, in her introduction to her co-edited collection Our Lady of Controversy: Alma López’s Irreverent Apparition.

The eleven chapters include essays by López and Gaspar de Alba, as well as Tey Marianna Nunn, Kathleen Fitzcallaghan Jones, Deena J. González, Luz Calvo, Clara Román-Odio, Emma Pérez, Cristina Serna, Catrióna Rueda Esquibel.  Read more »

Thursday, May 5, 2011

The OC Weekly :: Our Lady of Controversy

Our Lady of Controversy
Edited by Alicia Gaspar de Alba
 and Alma López
Can a Gabacho Be More Mexican Than a Mexican?
[¡Ask a Mexican!] And why would an image of the Virgin of Guadalupe cause so much controversy?
By GUSTAVO ARELLANO

GOOD MEXICAN OF THE WEEK! A decade ago, Chicana artist Alma Lopez released Our Lady, a digital collage that depicted the Virgin of Guadalupe as a living, breathing woman wearing Her trademark green shawl, as well as a bikini made of flowers. It proved one of the most momentous artworks of this millennium, provoking equal parts praise and outrage by tapados. Its influence is recounted in the recently released Our Lady of Controversy, Alma López's Irreverent Apparition, a collection of essays from Chicana scholars on the subject complete with the chingona DVD, I Love Lupe, a short documentary on Chicana art's constant tweaks of the iconic Guadalupe image. Essential reading for art and Chicana/o Studies freaks alike! Read More »

Santa Fe New Mexican :: Our Lady of Controversy


Our Lady of Controversy
Edited by Alicia Gaspar de Alba
 and Alma López
War of the Roses: 'Our Lady' 10 years on Casey Sanchez | The New MexicanThursday, May 05, 2011

Anybody living in Santa Fe in the spring of 2001 could scarcely forget her. She was called Our Lady, and she was clad in roses. Not enough of them, apparently.

She stood with arms akimbo, her face cocked defiantly, her back cloaked in an Aztec cloth, her chest and waist wreathed in a garland of roses that gloriously framed her toned midriff. A butterfly-winged, bare-breasted angel held her aloft.

She was artist Alma López's highly personal vision of the Virgen de Guadalupe, steeped in the urban spirituality of Mexican-immigrant Los Angeles, where La Virgencita may have been glimpsed outside of churches more often than inside — dangling as an air freshener from a rearview mirror, held aloft by civil rights activists at marches and protests, or adorning a mural on a street corner, where she terrified the daylights out of graffiti sprayers.  Read more »

Friday, April 15, 2011

American Book Review :: Golondrina, why did you leave me?

Golondrina, why did you leave me?
by Bárbara Renaud González
Buy it Now 
American Book Review
Volume 32, Number 3, March/April 2011

Stuck in Murky Eddies
by Diana López

When, I wonder, will Mexican American men be portrayed as strong and assertive without the brutal aspects of machismo? When will we read about Mexican American mothers who are not silenced victims? When will the settings of these stories move out of run-down houses, barns, and chicken coops? So many have crossed the border and successfully achieved the American Dream with all it promotes: education, jobs with benefits, comfy houses with flea-free dogs. Yet the literature seems stuck in the murky eddies of the Rio Grande.

Golondrina, why did you leave me? by Bárbara Renaud González is a good example. There are powerful passages and poignant scenes in González's novel; however, she, like many other contemporary writers, continues to rely on such stereotypes and the cheating patrón, the broken-down laborer, the long-suffering matriarch.

Golondrina is the story of Amada García. Married to an abusive man, Amada leaves Mexico, and her young daughter, and crosses the border to Texas where she marries again. Her second husband, Lázaro, is not so violent, but he is poor, embittered, and burdened with a terrible sense of disenfranchisement. In a quest for work and for a better home, he and Amada move to different towns in the Southwest. Meanwhile, they have children and struggle to raise them.