Including the Chicano southwest of California, Texas, Arizona, Colarado, New Mexico, and Nevada, together with the Commonwealth of Puerto Rico, and its Manhattan offshoot, Spanish Harlem, the Cuban America of Florida, as well as the many smaller communities whose origins lie in Central and South America, and the Spanish-speaking Caribbean, Hispanic and Latino Americans are now the largest ethnic minority in the United States. Indeed, the USA is now the second largest Spanish-speaking country in the world.
As serious scholarly work on and around the literary output of Hispanic and Latino Americans flourishes as never before, this new four-volume collection, co-published by Routledge and Edition Synapse, meets the need for an authoritative reference work to help users navigate and make sense of the subject’s vast literature and the continuing explosion in research output.
US Latino/a Writing is edited by A. Robert Lee, former Professor of American Literature at Nihon University, Tokyo, Japan. His expert selection brings together the best and most influential critical assessments, evaluations, and other scholarship in one easy-to-use ‘mini library’. It also includes a comprehensive introduction, newly written by the editor, which places the collected material in its historical and intellectual context, as well as detailed bibliographies and timelines. It is destined to be valued by researchers and students as an essential work of reference.
The editor of this collection, A. Robert Lee, is a leading expert in the field. He is Professor of American Literature at Nihon University, Tokyo. His Multicultural American Literature: Comparative Black, Native, Latino/a and Asian American Fictions (2003) won the American Book Award in 2001. His recent work includes Modern American Counter Writing: Beats, Outriders, Ethnics (Routledge, 2010) and a four-volume collection on Native American Writing (Routledge and Edition Synapse, 2011).
Table of Contents
Selective Historical Chronology
Bibliography of Latino/a Writing
Part 1: US Latino/a Literary Overviews
1. Victor Hernández Cruz, ‘Mountains in the North: Hispanic Writing in the U.S.A.’, Red Beans (Minneapolis: Coffee House Press, 1991), pp. 87–91.
2. Rolando Pérez , ‘What is "Minor" in Latino Literature?’, MELUS, 2005, 30, 4, 89–108.
3. Gustavo Pérez-Firmat, ‘Words That Smell Like Home’, Tongue Ties: Logo-Eroticism in Anglo-Hispanic Literature (New York: Palgrave Macmillan, 2003), pp. 139–57.
4. A. Robert Lee, ‘Outside In: Latino/a Un-bordering in US Fiction’, in Jay Prosser (ed.), American Fiction of the 1990s: Reflections of History and Culture (London and New York: Routledge, 2008), pp. 17–30.
5. Ellen McCracken, ‘Postmodern Ethnicity as Commodity: Containment and Resistance in New Latina Narrative’, New Latina Narrative: The Feminine Space of Postmodern Ethnicity (Tucson: University of Arizona Press, 1999), pp. 11–39.
Part 2: Chicano/a Literary Statements, Overviews, Oral Tradition, Theory
6. Rudolfo A. Anaya, ‘Aztlán: A Homeland Without Boundaries’, in Rudolfo A. Anaya and Francisco Lomelí (eds.), Aztlán: Essays on the Chicano Homeland (Albuquerque: University of New Mexico Press, 1989), pp. 230–41.
7. Alurista, ‘Cultural Nationalism and Chicano Literature: 1965–75’, in Renate von Bardeleben, Dietrich Briesemeister, and Juan Bruce-Novoa (eds.), Missions in Conflict: Essays on U.S.-Mexican Relations and Chicano Culture (Tübingen: Gunter Narr Verlag, 1986), pp. 41–52.
8. Gloria Anzaldúa, ‘The Homeland, Aztlán: El Otro México’, Borderlands, La Frontera: The New Mestiza, 2nd edn. (San Francisco: Aunt Lute Books, 1999), pp. 23–35.
9. Luis Leal, ‘Pre-Chicano Literature: Process and Meaning (1539–1959)’, in Francisco Lomelí (ed.), Handbook of Hispanic Cultures in the United States: Literature and Art (Houston: Arte Público Press, 1993), pp. 62–85.
10. José E. Limón, ‘With His Pistol in His Hand: The Essay as Strong Sociological Poem’, Mexican Ballads, Chicano Poems: History and Influence in Mexican-American Social Poetry (Berkeley: University of California Press, 1992), pp. 61–77.
11. Angie Chabram, ‘Conceptualizing Chicano Critical Discourse’, in Héctor Calderón and José David Saldívar (eds.), Criticism in the Borderlands: Studies in Chicano Literature, Culture, and Ideology (Durham: Duke University Press, 1991), pp. 127–48.
12. Tey Diana Rebolledo, ‘Tradition and Mythology: Signatures of Landscape in Chicana Literature’, in Vera Norwood and Janice Monk (eds.), The Desert is No Lady: Southwestern Landscapes in Women’s Writing and Art (Tucson: University of Arizona Press, 1997), pp. 96–124.
Part 3: Chicano/a Fiction
13. Luther S. Luedtke, ‘Pocho and the American Dream’, in Vernon E. Lattin (ed.), Contemporary Chicano Fiction: A Critical Survey (Binghamton: Bilingual Press/Editorial Bilingingüe, 1986), pp. 62–81.
14. Julián Olivares, ‘Tomás Rivera: Introduction’, in Julián Olivares (ed.), Tomás Rivera: The Complete Works (Houston: Arte Público Press, 1992), pp. 13–46.
15. Ramón Saldívar, ‘Beyond Good and Evil: Utopian Dialectics in Tomás Rivera and Osca Zeta Acosta’, Chicano Narrative: The Dialectics of Difference (Madison: University of Wisconsin Press, 1990), pp. 74–102.
16. Paul Beekman Taylor, ‘Chicano Secrecy in the Fiction of Rudolfo A. Anaya’, Journal of the Southwest, 1997, 39, 2, 239–65.
17. A. Robert Lee, ‘Chicanismo as Memory: The Fictions of Rudolfo Anaya, Nash Candelaria, Sandra Cisneros and Ron Arias’, in Amritjit Singh, Joseph T. Skerrett, Jr., and Robert E. Hogan (eds.), Memory and Cultural Politics: New Approaches to American Ethnic Literatures (Boston: Northeastern Press, 1996), pp. 320–39.
18. Teresa McKenna, ‘Power Reversals and the Comic: Rolando Hinojosa as a Political Writer’, Migrant Song: Politics and Process in Contemporary Chicano Literature (Austin: University of Texas Press, 1997), pp. 73–102.
19. Elizabeth Mermann-Jozwiak, ‘Gritos desde la Frontera: Ana Castillo, Sandra Cisneros, and Postmodernism’, MELUS, 2000, 25, 2, 101–18.
20. Stella Bolaki ‘"This Bridge We Call Home": Crossing and Bridging Spaces in Sandra Cisneros’s The House on Mango Street’, Borders and Boundaries: eSharp, Summer 2005, 5, 1–14.
21. Roland Walter, ‘The Cultural Politics of Dislocation and Relocation in the Novels of Ana Castillo’, MELUS, 1998, 23, 1, 81–97.
22. B. Marie Christian, ‘Many Ways to Remember: Layered Time in Mora’s House of Houses’, MELUS, 2005, 30, 1, 135–48.
23. Maya Socolovsky, ‘Narrative and Traumatic Memory in Denise Chávez’s Face of an Angel’, MELUS, 2003, 28, 4, 187–205.
24. Norma Alarcón, ‘Making Familia from Scratch: Split Subjectivities in the Work of Helena María Viramontes and Cherrié Moraga’, in María Herrera-Sobek and Helena María Viramontes (eds.), Chicana Creativity & Criticism, 2nd edn. (Albuquerque: University of New Mexico Press, 1996), pp. 220–32.
25. Susan Baker Sotelo, ‘Marginalization in Aztlán: Michael Nava’s Gay Detective’, Chicano Detective Fiction: A Critical Study of Five Novelists (Jefferson: McFarland & Company, Inc., 2005), pp. 123–48.
26. Ralph E. Rodriguez, ‘Lucha Corpi’s Gloria Damasco Series’, Brown Gumshoes: Detective Fiction and the Search for Chicana/o Identity (Austin: University of Texas Press, 2005), pp. 55–77.
Part 4: Chicano/a Poetry
27. Rafael Pérez-Torres, ‘From the Homeland to the Borderlands, the Reformation of Aztlán: Rodolfo Gonzalez, Jimmy Santiago Baca, Lorna Dee Cervantes, Ana Castillo, Gloria Anzaldúa’, Movements in Chicano Poetry (Cambridge: Cambridge University Press, 1995), pp. 56–96.
28. Marissa López, ‘The Language of Resistance: Alurista’s Global Poetics’, MELUS, 2008, 33, 1, 93–115.
29. Yves-Charles Grandjeat, ‘Ricardo Sánchez: The Poetics of Liberation’, in Geneviève Fabre (ed.), European Perspectives on Hispanic Literature in the United States (Houston: Arte Público Press, 1988), pp. 33–43.
30. Juan Bruce-Novoa, ‘Rescuing the World Center: Montoya, Navarro, Delgado, Salinas’, Chicano Poetry: A Response to Chaos (Austin: University of Texas Press, 1882), pp. 14–47.
31. José David Saldívar, ‘Changing Borderland Subjectivities: Montoya, Zamora, Ríos’, Border Matters: Remapping American Cultural Studies (Berkeley: University of California Press, 1997), pp. 57–71.
32. Ernesto Padilla, ‘With Our Very Own Names, or There is Room Here for Two Tongues Inside This Kiss: The Voice of Carmen Tafolla’, in Ernesto Padilla (ed.), Sonnets to Human Beings and Other Selected Works by Carmen Tafolla (Santa Monica: Lalo Press, 1992), pp. 180–93.
33. Alberto Julián Pérez, ‘Tino Villanueva’, in Alan West-Durán (ed.), Latino and Latina Writers (New York: Charles Scribner’s Sons, 2004), pp. 527–36.
34. Charles Tatum, ‘Gary Soto’, in Alan West-Durán (ed.), Latino and Latina Writers (New York: Charles Scribner’s Sons, 2004), pp. 475–90.
35. Lisa Tatonetti, ‘A Kind of Queer Balance: Cherrié Moraga’s Aztlán’, MELUS, 2004, 29, 2, 227–47.
36. Deborah L. Madsen, ‘Lorna Dee Cervantes’, Contemporary Chicana Literature (Columbia: University of South Carolina Press, 2000), pp. 196–228.
37. Marta Ester Sánchez, ‘The Dramatization of a Shifting Poetic Consciousness: Bernice Zamora’s Restless Serpents’, Contemporary Chicana Poetry: A Critical Approach to an Emerging Literature (Berkeley: University of California Press, 1985), pp. 214–68.
38. Julián Olivares, ‘Seeing and Becoming: Evangelina Vigil, Thirty a’n Seen a Lot’, in John A. García, Theresa Córdova, and Juan R. García (eds.), The Chicano Struggle: Analyses of Past and Present Efforts (Binghamton: Bilingual Press/Editorial Bilingüe, 1984), pp. 152–65.
Part 5: Chicano Drama
39. Arturo Ramírez, ‘Contemporary Chicano Theater’, in David R. Maciel, Isidro D. Ortiz, and María Herrera-Sobek (eds.), Chicano Renaissance: Contemporary Cultural Trends (Tucson: University of Arizona Press, 2000), pp. 233–60.
40. Jorge A. Huerta, ‘Chicano Theater, Themes and Forms, Justice: On the Streets and in the Courts’, Chicano Theater: Themes and Forms (Ypsilanti: Bilingual Press/Editorial Bilingüe, 1982), pp. 155–85.
41. Luis Valdez, ‘El Teatro Campesino: Its Beginnings’, in Ed Ludwig and James Santibañez (eds.), The Chicanos: Mexican American Voices (Baltimore: Penguin Books, 1971), pp. 115–19.
42. Guillermo E. Hernández, ‘Luis Valdez and Actos of Teatro Campesino’, Chicano Satire: A Study in Literary Culture (Austin: University of Texas Press, 1991), pp. 31–51.
43. Stacy Alaimo, ‘Multiculturalism and Epistemic Rupture: The Vanishing Acts of Guillermo Gómez-Peña and Alfredo Véa Jr.’, MELUS, 2000, 25, 2, 163–85.
Part 6: Chicano/a Autobiographical Studies
44. Michael Hames-García, ‘Dr. Gonzo’s Carnival: The Testimonial Satires of Oscar Zeta Acosta’, American Literature, 2000, 72, 3, 463–93.
45. Henry Staten, ‘Ethnic Authenticity, Class, and Autobiography: The Case of Hunger of Memory’, PMLA, 1998, 113, 1, 103–16.
46. Elizabeth Fertz, ‘Richard Rodriguez: Reluctant Romantic’, Early American Literature, 2008, 43, 2, 443–52.
Part 7: Puerto Rican/Puerto Riqueño/a Overviews
47. Juan Flores, ‘Puerto Rican Literature in the United States: Stages and Perspectives’, Divided Borders: Essays on Puerto Rican Identity, ADE Bulletin, 1988, 91, 39–44.
48. Lisa Sánchez González, ‘The Boricua Novel: Civil Rights and the "New School" Nuyorican Narratives’, Boricua Literature: A Literary History of the Puerto Rican Diaspora (New York: New York University Press, 2001), pp. 102–33.
49. Edna Acosta-Belén, ‘Beyond Island Borders: Ethnicity, Gender, and Cultural Revitalization in Nuyorican Literature’, Callaloo, 1992, 15, 4, 979–98.
Part 8: Puerto Rican/Riqueño Literature
50. Marta Caminero-Santangelo, ‘"Puerto Rican Negro": Defining Race in Piri Thomas’s Down These Mean Streets’, MELUS, 2004, 29, 2, 205–26.
51. Barbara Roche Rico, ‘"Rituals of Survival": A Critical Assessment of the Fiction of Nicholasa Mohr’, Frontiers, 2007, 28, 3, 160–79.
52. Maya Scolovsky, ‘Telling Stories of Transgression: Judith Ortiz Cofer’s The Line of the Sun’, MELUS, 2009, 34, 1, 95–116.
53. Thomas McConnell, ‘Fragmentation and Assimilation in Judith Ortiz Cofer’s Latin Deli and Year of Our Revolution’, Atenea, 2002, 22, 1–2, 57–63.
54. Carmen S. Rivera, ‘The Fluid Identity of Rosario Morales and Aurora Levins Morales in Getting Home Alive’, Kissing the Mango Tree: Puerto Rican Women Rewriting American Literature (Houston: Arte Público Press, 2002), pp. 56–76.
55. Wolfgang Binder, ‘"A Midnight Reality": Puerto Rican Poetry in New York, a Poetry of Dreams’, in Geneviève Fabre (ed.), European Perspectives on Hispanic Literature of the United States (Houston: Arte Público Press, 1988), pp. 22–32.
56. Michael Dowdy, ‘"A Mountain/in My Pocket": The Affective Spatial Imagination in Post-1952 Puerto Rican Poetry’, MELUS, 2010, 35, 2, 41–67.
57. Francis R. Aparicio, ‘Salsa, Maracas, and Baile: Latin Popular Music in the Poetry of Victor Hernández Cruz’, MELUS, 1989–90, 16, 1, 43–58.
58. Thomas Fink, ‘Visibility and History in the Poetry of Martín Espada’, The Americas Review, 1999, 25, 202–21.
59. Stephanie Álvarez Martínez, ‘¡¿Qué.qué?!: Transculturación and Tato Laviera’s Spanglish Poetics’, Centro Journal, 2006, XVIII, 1, 25–47.
60. Miriam DeCosta-Willis, ‘Sandra María Esteves’ Nuyorican Poetics: The Signifying Difference’, Afro-Hispanic Review, 2004, 23, 2, 3–12.
61. J. Chris Westgate, ‘Towards a Rhetoric of Sociospatial Theatre: José Rivera’s Marisol’, Theatre Journal, 2007, 59, 21–37.
Part 9: Cuban American Literature
62. Rodolfo J. Cortina, ‘Cuban Literature in the United States: 1824–1959’, in Ramón Gutiérrez and Genaro Padilla (eds.), Recovering the U.S. Hispanic Literary Heritage (Houston: Arte Público Press, 1993), pp. 69–88.
63. Isabel Alvarez-Borland, ‘Displacements and Autobiography in Cuban-American Fiction’, World Literature Today, 1994, 68, 1, 43–8.
64. Eliano Rivero, ‘From Immigrants to Ethnics: Cuban Women Writers in the U.S.’, in Asunción Horno-Delgado, Elena Ortega, Nina M. Scott, and Nancy Saporta Sternback (eds.), Breaking Boundaries: Latina Writing and Critical Readings (Amherst: University of Massachusetts Press, 1989), pp. 189–200.
65. Juan Bruce-Novoa, ‘Hijuelos’ Mambo Kings: Reading from Divergent Traditions’, Confluencia, 1995, 10, 2, 11–22.
66. Maya Socolovsky, ‘The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos’s The Fourteen Sisters of Emilio Montez O’Brien’, PMLA, 2002, 117, 2, 252–64.
67. Rocío G. Davis, ‘Back to the Future: Mothers, Languages, and Himes in Cristina García’s Dreaming in Cuban’, World Literature Today, 2000, 74, 1, 60–8.
68. Beatriz Rivera Barnes, ‘Stealing the Nation. Three Women Writers in the U.S.: Lourdes Casal, Dolores Prida, and Achy Obejas’ (January 2013).
Part 10: Dominican American Literature
69. Kiley J. Guyton Acosta, ‘Writing Back to the Island: Revisionist Historiographies in Dominican-American Fiction’, Brújula, 2010, 8, 58–82.
70. Fernando Valerio-Holguín, ‘Dominican-American Writers: Hybridity and Ambivalence’, trans. Scott Cooper, Forum on Public Policy On Line: A Journal of the Oxford Round Table, 2006, 1–16.
71. David Cowart, ‘Immigration and Primal Scene: Alvarez’s How the García Girls Lost their Accents’, Trailing Clouds: Immigrant Fiction in Contemporary America (Ithaca: Cornell University Press, 2006), pp. 41–54.
72. Steve Criniti, ‘Collecting Butterflies: Julia Alvarez’s Revision of North American Collective Memory’, Modern Language Studies, 2007, 36, 2, 42–63.
73. Anne Garland Mahler, ‘The Writer as Superhero: Fighting the Colonial Curse in Junot Diaz’s The Brief Wondrous Life of Oscar Wao’, Journal of Latin American Cultural Studies, 2010, 19, 2, 119–40.
74. Emilia María Durán-Almarza, ‘Ciguapas in New York: Transcultural Ethnicity and Transracialization in Dominican American Performance’, Journal of American Studies, 2012, 46, 1, 139–53.
Part 11: North American Latino/a Writings
75. George Monteiro, ‘Persons, Poems, and Other Things Portuguese in American Literature’, Gávea-Brown, 1996–7, XVII–XVIII, 3–24.
76. Michael Templeman, ‘Becoming Transnational and Becoming Machinery in Francisco Goldman’s The Ordinary Seamen’, Symplokē, 2006, 14, 1–2, 271–88.