Reading I NEED HELP ON MY HOMEWORK

MÓDULO 1

U.S Latinx Caribbean Voices

Cameron Alcocer

Feiyu Pang

Natalia Apffel (Spanish)

[CRJ]1

Módulo 1

USLL Introduction

(PDF)

Eds. Harold Augenbraum, Margarite Fernández Olmos

DUE: 4-12

10:00 PM

The text discusses the growing significance and importance of the literary culture of Latin American authors. However, describing this literature under the term “Latino” is not entirely sufficient in defining the genre as each Latino subgroup represents a distinct culture of the Americas (xii). It’s important to recognize the multicultural aspects of this area including Spanish, Indigenous, and African roots. The literature produced from these groups will continue to grow in prominence in the United States as they are expected to make a quarter of the population by 2050 (xii). The defining literature of the first large wave of Latino literature in the United States dealt with the conflicted relationship of Americanizing while also preserving their culture and identity. It also dealt with social injustice and calls of social justice. The literature in recent times has grown to be more inclusive as it now offers space for women and members of the LGBTQ community to express their experiences. Comment by Feiyu Pang: The idea that Cuban, Dominican, and Puerto Rican authors boosted American literature resonates. deeply. Immigrants and first-generation Americans write on identity, culture, and assimilation. Many authors in this genre highlight Latino identity despite geographical relocation, but it's important to reflect this community's diversity. Authors' perspectives are shaped by family, history, and personal experiences. Besides identification, they explore migration, belonging, race, class, and gender intersections. Comment by Aharon Arvizu Ramirez: Provide the author and specific page number in the in-text citation

The text discusses the underestimation of the Narrative and similar works in mainstream literary education in the United States, noting that these works, despite their historical and cultural significance, are often relegated to mere footnotes. The text argues that if these narratives were part of the Anglo-literary culture of the American Northeast, they would have played an important role in the American literary imagination. Comment by Natalia Apffel: ¡Esta idea es muy importante! El texto habla mucho sobe los Estados Unidos en general, pero implica que el 'folclore' estadounidense se basó en el noreste. El oeste no recibe el mismo nivel de reconocimiento cultural en el contexto de la literatura angloamericana. Comment by Aharon Arvizu Ramirez: Support your response with a few pieces of textual evidence (i.e. page numbers, paraphrasing, quotes, direct references).

Puede separar el texto en dos partes: un resumen de la historia de la literatura latina y la explicación del propósito de este libro. El resumen trata lo que ocurrió en esa historia y las consecuencias contemporáneas de esos eventos. Menciona varios periodos, lo colonial y lo moderno (i.e., la década 1960) en particular, y discutió los cambios literarios; autores nuevos, temas diferentes y propósitos inspirados por preocupaciones recientes. Aquí empieza la transición a la sección sobre el propósito del libro; los escritores implican que una colección robusta de esa literatura debe haber surgido, pero ya no existe. Hacen referencias al inicio del texto y la discusión sobre el término ‘latino’ e ‘hispanic’ para expresar la falta de conocimiento general sobre literatura latina en los EE. UU. a pesar de la gran población de los latinos en este país. Discute el estado de las instituciones de educación y cultura en el contexto de nuestra sociedad multicultural (p. xiv). Después de su reflexión, ofrece su propósito en términos claros: crear una antología de literatura latina con los libros más pertinentes y significativos del género para educar y enseñar. Comment by Feiyu Pang: La idea de que los orígenes y las migraciones de los autores dan forma al bilingüismo y la variedad temática de la literatura latina es reveladora. Discuten la política y la economía de sus países y por qué emigraron. Si bien los orígenes locales de los autores influyen en sus escritos, su singularidad y habilidad para manejar sus condiciones son importantes. A pesar de las presiones externas, muchos escritores de este género escriben novelas extensas sobre desafíos, fortalezas y objetivos personales. Comment by Aharon Arvizu Ramirez: Usa conectores textuales formales Comment by Aharon Arvizu Ramirez: Muy bien por citar la página, pero hace falta la referencia completa (autor/página).

[CRJ]1

Módulo 1

Dance Between Two Cultures

Preface (PDF)

Author: William Luis

DUE: 4-12

10:00 PM

Historical circumstances have produced waves of immigration to the United States which has produced a rich genre of literature particularly from Americans of Cuban, Dominican, and Puerto Rican descent. The works are separated into two categories with one encompassing authors who were born in these countries and later migrated to the United States and the other encompassing first-generation Americans born from parents from these countries (xi). Regardless of what category these authors belong to, they are defined by their exploration of their split and sometimes disappearing sense of identity. Many authors from this genre have concluded that regardless of their new life in the United States, a Latino identity still persists. In other words, the Latino identity is not determined by location but rather circumstance. Comment by Aharon Arvizu Ramirez: Please, provide the author and specific page number in the in-text citation Comment by Aharon Arvizu Ramirez: Do not forget to support your response with textual evidence

Migration patterns, including waves of Cubans and Dominicans arriving in the United States because of economic and political pressures, have played a crucial role in shaping the themes and narratives of Caribbean literature in Latin America. Many writers, while sometimes writing in Spanish, primarily use English for Latino and broader North American audiences. This bilingual or English-centric writing helps to appeal to a wider audience and influence American literature and culture more broadly Comment by Aharon Arvizu Ramirez: Support your response with a few pieces of textual evidence (i.e. page numbers, paraphrasing, quotes, direct references).

El autor propone que las características notables de literatura latina son: el bilingüismo, temas tratados en las historias y las actitudes de los autores. Todos los aspectos parecen determinados por el origen de un autor (su país, principalmente) y su movimiento migratorio específico. En otras palabras, el contexto político de su país nativo y los razones por emigrar afectan las historias significativamente. El autor da unos ejemplos de periodos importantes de unos países caribeños para demostrar la influencia de esos contextos. Hace referencias al mercado para cigarros y el papel de los cubanos y también menciona el estado político de Puerto Rico como una colonia de los EE. UU. que concede ciudadanía estadounidense a los puertorriqueños (p xiii). Los efectos de las circunstancias económicas y políticas son evidentes en las obras pertinentes; unos escritores ansían volver a su país/pasado (o lo de sus padres) y otros rechazan el pasado e intentan a crear su propia vida en los EE. UU. Típicamente, los libros son reacciones a los estados unidos y su vida ‘nueva’ en esta nación, pero esas reacciones son determinadas por sus experiencias en su país nativo. Comment by Aharon Arvizu Ramirez: Para esta pregunta, no olvides apoyar tus respuestas con citas textuales y referencia completa.

Luis' definition of Latino highlights the distinctive experiences of Latinos born or raised in the United States. Thus, the term emphasizes circumstances rather than heritage. This circumstance revolves around their split and often clashing identity between their American culture and the culture of their parents (x). The reason for this is to distinguish between the experiences of a “Hispanic” immigrant traveling to the United States to pursue an advanced education and a “Latino” living in the ghettos of East Harlem or East Los Angeles (xi). This definition is a much more specific and strict definition of the term Latino compared to the usage used in the U.S. Latino Literature introduction. Although they found Latino to be not satisfiable for representing the multicultural roots of Latin America, they still choose Latino as the current based term to describe the Latin Americans born in Latin America and the Latin Americans born abroad to Latin American parents. However, attention is given to the fact that not one term can fully encompass the many different cultures that exist within Latin America and its diasporas. Lastly, this definition encourages that we must give attention to not only the Spanish roots of Latin America but also the Indigenous and African roots. Comment by Natalia Apffel: Me gusta tu análisis del uso del término latino. Estoy de acuerdo con tu afirmación que el autor intentó a enfocar en las circunstancias en vez de su origen o herencia. Parece que las circunstancias de los autores provocaron la creación de sus libros y sus orígenes solamente influyeron las obras. Entiendo el propósito del autor… pero todavía me opongo a su mal uso del término ‘latino’ jajaja. 1 total reaction Kiley Guyton Acosta reacted with 👍 at 2024-04-20 18:12 PM Comment by Aharon Arvizu Ramirez: Please, if this is a reference add the page number and citation information

Lewis' definition of "Latino" emphasizes the unique experiences of Latinos growing up in a North American cultural context, particularly those who face tensions between their parents' culture and mainstream American culture. Comparing the two, Lewis's definition is more specific, focusing on the unique psychological and cultural negotiations experienced by Hispanics who grew up in the United States, which sets them apart from those who emigrate directly and maintain strong ties to their homeland. Comment by Cameron Alcocer-Burdett: Hi, I agree that his definition of Latino focuses on the personal experiences rather than heritage. I liked the way you expressed these Latino experiences as  "psychological and cultural negotiations" as they navigate through their split identity between their culture as an American and one as a Latin American. They aren't fully American and integrated into mainstream American culture yet at the same time they are not fully of their parent's home country;s culture because they don't live there or in some cases, they don't even fully speak Spanish. Nevertheless, this Latino identity strongly persists.

Opino que su interpretación de ‘latino’ es tan ridícula; simplemente, es un uso equivocado. Creo que es mejor utilizar términos como ‘first-gen’ y ‘second-gen’ para distinguir las experiencias tan diferentes entre esta población. Su uso es demasiado centrado en los EE. UU. a pesar de su afirmación que ‘latino’ se refiere al contexto norteamericano. Parece que el autor confunde Norteamérica con los Estados Unidos (y supongo Canadá también); ignora el hecho que México está en este continente también. Yo estoy segura de que las experiencias de latinos en los EE. UU. y las experiencias de latinos en México no son muy similares, y mucho menos las mismas. Prefiero la definición del otro texto, es válido en uso (es decir, usarlo correctamente) y más inclusivo. Esta explicación es sencilla y, de alguna manera, tolerante y empática. Explica la definición aceptada en el texto y reconoce que las faltas del término (p xii). Admite que la palabra es vaga y no puede describir precisamente todas las personas que son consideradas latinas. También entiende que el término necesita ser un poco vago para funcionar como una identidad general o universal. Comprende el uso correcto del término y los límites del término, por eso lo utiliza perfectamente. En vez de buscar otros términos, Luis malinterpreta el término y lo utiliza en cualquier manera que quería; no tiene sentido en mi opinión. Comment by Cameron Alcocer-Burdett: Yo también creo que su interpretación de “latino” no es la mejor porque la experiencia latina no es limitada a las personas que nacieron en los Estados Unidos. Estoy de acuerdo contigo que términos como “first gen” y “second gen” son mejores porque no excluye latinos en América Latina y también diferencian entre latinos que viven en los Estados Unidos y latinos que viven en América Latina. Sin embargo, yo creo que es importante hacer distinciones y dar atención a las circunstancias únicas de los latinos que viven en Estados Unidos. 1 total reaction Kiley Guyton Acosta reacted with 👍 at 2024-04-20 18:12 PM Comment by Aharon Arvizu Ramirez: no olvides la referencia completa

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Módulo 1

Introduction

(ALR pp.1-15)

Eds. Juan Flores, Miriam Jiménez Román

DUE: 4-12

10:00 PM

Both works bring attention to the lack of understanding surrounding the Latin American identity particularly in the lack of recognition of the Afro-Latino community. In the interviews, we see that in Hollywood, not only is there a lack of recognition but a denial of representation for their identity. These actors mention that they are denied Latino roles because they don’t fit the “Latino look” because they are black even though Latin America has a significant black population. Likewise, The Afro-Latin@ Reader introduction discusses how we often view Afro and Latino as two conflicting and separate terms that are unable to overlap however this isn’t the case. Both works mention that Afro-Latinos found comfort in bonding with the African American experience in the United States.

Both the presentation and the interview discussed the lack of recognition and visibility of Afro-Latino individuals in their broader social and media representation. The interview explores how African-American Latino actors and their cultural narratives are often marginalized in Hollywood, reflecting a broader trend toward the homogenization of race and racial experiences. By examining these connections, it is clear that both academic presentations and practical observations in Hollywood have a critical perspective on the Afro-Latino experience, highlighting the ongoing challenges and dynamic resilience in seeking appropriate representation and recognition.

El texto provee el contexto histórico de las circunstancias que son analizadas en las entrevistas. La introducción resume la historia de la identidad Afro-latino y las experiencias de personas afro-latinas en siglos diferentes. Explica cómo surgió la situación contemporánea y afirma todo lo que los entrevistados han dicho. Ambas fuentes lamentan la falta de representación en los medios y la consideran un borrado. Un tema que los dos tratan es la ‘calidad’ de los papeles ofrecidos a los actores afro-latinos, ellos típicamente juegan personajes demasiado simples o malos (p. 11). Promueven estereotipos negativos que dañan su comunidad y apoyan las asociaciones entre la comunidad y violencia, crimen, drogas, promiscuidad, etc. Comment by Aharon Arvizu Ramirez: Muy bien por citar la página, pero hace falta la referencia completa (autor/página).

Pelé con Brasil. El Grafico. (1970).

https://commons.wikimedia.org/wiki/File:Pele_con_brasil_(cropped).jpg

Pelé, arguably the greatest soccer player of all time, was an Afro-Latino.

In the Heights (Broadway, Richard Rodgers Theatre, 2008) Playbill. Mar. 2010. Playbill.Com, Playbill Inc., Accessed 10 Apr. 2024.

https://assets.playbill.com/playbill-covers/7e1232ab6830bd766a5e228c844a6c33-in-the-heights-playbill-2008-02-14-web.jpg

(Más información sobre esa musical: https://playbill.com/production/in-the-heights-richard-rodgers-theatre-vault-0000003064#carousel-cell157569 )

[CRJ]2

Módulo 1

Black Cuban, Black American

(ALR pp.99-112)

Evelio Grillo

DUE: 4-14

10:00 PM

Although early twentieth century Ybor City had a diversity of races and cultures, there were strong divisions and significant segregation between them. These racial boundaries could only be crossed if socioeconomic boundaries were crossed. For example, some lighter-skinned blacks of higher economic status were able to be accepted by the White community. Across the Black community consisting of Black-American and Black Cubans, cultural, religious, and language differences overshadowed their connection of sharing the same skin color (Grillo, 103). While stigma restricted integration on behalf of adults, the more open mindedness of children allowed the Black American and Black Cuban children to form meaningful relationships (Grillo 106). Comment by Feiyu Pang: I agree that race and class were interconnected in Ybor City during the early 20th century. Intersectionality argues that social stratification, based on economic status, was the factor which determined whether or not people could cross over these lines. Children were demonstrated to be less prejudiced than their parents, and so it can be concluded that international relations and teamwork may exist in spite of social barriers and discrimination. Comment by Aharon Arvizu Ramirez: Excellent and thorough responses. Comment by Natalia Apffel: La naturaleza de esas relaciones es muy importante, más de apoyo general o solidaridad, ellos se casaron. Los matrimonios fueron cruciales y, a mí, son unos de los aspectos muy conmovedores.

A rich and methodical account of community, identity, and race relations in Ybor City, Florida, in the early 20th century, highlighting the complexity of cultural interactions and social stratification among diverse racial and ethnic groups. Grillo describes a community where economic opportunities, such as those in cigar factories, brought these diverse groups close together, particularly in workplaces where black and white Cubans worked side by side. Outside of economic activity, however, social interaction is limited and marked by ethnic and cultural boundaries. For example, while some personal relationships transcend racial boundaries, such as when Grillo's mother formed interracial friendships at work, those relationships rarely extend into more personal areas, such as home visits or social events. In addition, Grillo discussed the racial and economic segregation that exists in Ybor City, which is not enforced by law but takes place de facto due to social and economic conditions. This segregation often coincides with racial lines, indicating systemic inequalities affecting community housing and social life. Comment by Aharon Arvizu Ramirez: Good example, but always support your response with textual evidence.

Ybor City era similar a las otras ciudades en su época, tenía marginación racial y segregación racial (Grillo p.102). En consecuencia, las comunidades de Ybor City fueron formadas según las razas y la apariencia. La comunidad tratada por Grillo en su libro fue la comunidad negra, una mezcla de cubanos y estadounidenses. Al inicio, las relaciones entre los dos estaban tensas e incómodas, pero las mejoraron debido a los niños. En particular, Grillo nota el impacto de: la escuela, los eventos/celebraciones comunitarios y las amistades y/o los enamoramientos entre los jóvenes (Grillo, p.106). Eventualmente, los matrimonios surgieron y la generación consolidó su comunidad.

I think it is interesting the contrast in the interaction between Blacks and Whites in Cuba and Black and Whites in the United States. In Cuba, there was no legal separation between the races as was the case in the U.S. Commercial and government facilities were accessible to all Blacks in Cuba and they were able to attend, teach, and serve as administrators in the schools and universities (Grillo 100). Although Blacks in Cuba still suffered from discrimination, the United States was still much further from here in terms of opportunities granted to people of color.

This narrative segment is powerful because it delves into the complexities of identity that go beyond skin color, highlighting how language and cultural differences shape social interactions and perceptions within and across racial groups. Grillo describes how black Cubans, despite sharing a racial identity with black Americans, faced significant challenges in fully integrating into the black American community due to these cultural distinctions. Comment by Cameron Alcocer-Burdett: I think you highlighted a very important theme of this text. How cultural differences and language which in this case consisted of English and Spanish, Catholicism and Protestantism, and being Cuban vs American, cause a gap between the same race. However, I'm curious what is more important in shaping unity - race or culture. For example, would Black Cubans feel more in common with other White Cubans  who share the same language and culture or with Black Americans who faced the same discrimination and prejudice as they suffered. 1 total reaction Kiley Guyton Acosta reacted with 👍 at 2024-04-20 18:12 PM

Una sección muy notable es la descripción del ‘South Florida Fair’ (Grillo, p.107-108). Es una nota breve en la historia, pero revela mucho sobre la comunidad y las experiencias vividas de la época. Todo demuestra el poder de la comunidad, los jóvenes en particular, ellos pueden hacer conexiones y disfrutan algo en situaciones graves. En este caso, los niños se divirtieron en la feria, animados por todas las atracciones, los juegos y la comida de la feria (Grillo, p.107). Grillo escribe sobre sus recuerdos queridos en el parque, sobre sus amigos, su enamoramiento y su hermana mayor. Todas las diversiones y sentimientos del evento son significativos para el autor, pero todo es un producto de racismo. La feria operó dos días y todo ocurrió en el día para los jóvenes negros. Un producto de segregación, un día que demuestro la fuerza de una comunidad también es un recordatorio de su estado como un grupo ajeno, la raza ‘equivocada.’ Esa sección funciona como un resumen del periodo; perseverancia y solidaridad contra el racismo tan prevaleciente.

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Módulo 1

A Puerto Rican in New York (ALR pp.113 - 119)

Jesús Colón

DUE: 4-14

10:00 PM

Jesús Colón is conflicted between his desire to help the white lady and his fear that the white lady will reject him due to her racial prejudice. Not only is he Black but he also has an accent which further separates him from American society. To his own suffering, he ultimately chooses to ignore the woman to play it safe which he later deeply regrets as he doubted the acceptance of the woman. For this, he apologizes to the woman and her children and swears if ever in that position again to always help regardless of how the interaction goes. Comment by Feiyu Pang: I agree with the suggestion that Jesús Colón's task of awakening racial awareness in a society that mistreated people of colour was not an easy one. He had apprehension about rejecting a white girl. This shows the existence of racial disagreements and the complicated psychological effects of discrimination. The guilt in him, however, was the driving force that ensured he would persevere and provide his compassion to the other races. What made Colon powerful was his fight against racism.

Jesús Colón's memoir provides a profound insight into his internal struggle as a Black Puerto Rican navigating the complexities of racial dynamics in early twentieth-century New York City. A passage that vividly captures his inner turmoil is his recounting of an incident in a subway station late at night, reflecting the broader societal prejudices of the time. He describes an encounter where he observes a white woman struggling with her children and luggage, clearly in need of help. As a person of courtesy intrinsic to his Puerto Rican culture, his first instinct is to assist her. However, he is immediately gripped by hesitation and fear, contemplating the potential negative consequences of his approach due to his racial identity​

En una palabra, la vida de Jesús Colón (y los otros puertorriqueños en Nueva York) era una experiencia ‘deshumanizante’. Esta deshumanización surgió en dos formas: otras personas (típicamente los blancos) rechazaban la humanidad de los negros o los negros tenían que ‘abandonar’ su compasión (un aspecto muy ‘humano’) y elegir inacción contra injusticia o situaciones donde una persona necesito ayuda. Colón escribe sobre esa experiencia y su inacción cuando una madre blanca necesito ayuda con sus niños en el tren. El autor no hizo nada, tenía miedo de una potencial reacción muy negativa y racista de la madre. Hoy en día, el autor lamenta su inacción y la ‘pérdida de su cortesía’ (Colón, p.114). Los riesgos de una reacción racista eran graves y terribles, un hecho el autor ha entendido toda su vida.

In Ybor City, do you think Black Cubans felt more unity with White Cubans or with Black Americans? Comment by Natalia Apffel: Creo que la segregación racial es un elemento significativo entre las relaciones. Los cubanos negros, en una manera, solo pudieron hacer conexiones con los estadounidenses negros porque no pudieron estar en el mismo espacio de los cubanos blancos.

In both Evelio Grillo's and Jesús Colón's memoirs, the authors explore their identities and the racial dynamics of the societies in which they lived (Ybor City and New York City, respectively). How do Grillo and Colón describe their experiences with racial and ethnic identity? Comment by Cameron Alcocer-Burdett: I would say that Colón felt very restricted as a result of his racial identity. He was unable to offer help to a white women in fear that she will reject him on the basis of his race. Even more, he was scared to talk because of his accent which furthur restricts him from being accepted. For Grillo, his experience was defined by feeling like an outsider. His classmate accusing him of not fully embracing his Black idenitity stuck with him for the rest of his life.

Ambos autores escriben sobre una historia o figura penosa, Jesús Colón y la madre en el tren y Evelio Grillo y el estudiante Jim. Sus experiencias son muy diferentes, pero los recuerdos han afectado a los autores por tantos años de maneras similares. ¿Por qué incluyeron estas historias? ¿Cómo afectan el resto de los textos? Es dicho:¿Qué piensas sobre las experiencias?

How Afro-Cubans in Tampa Bay United amid Pressures, www.wtsp.com/article/news/local/hispanic-heritage-month/afro-cubans-in-tampa-bay-history/67-52ec8ffa-5888-4a3d-b52b-9475429d2ed8. Accessed 15 Apr. 2024.

Flyer for a Columbus Day Dance. 1942. Jesús Colón, A Puerto Rican in New York and Other Sketches. This flyer includes the phrase “Para raza blanca” in small print at the lower right corner, which underscores the racial segregation prevalent during the period and directly connects to the themes of racial and ethnic identity discussed in Colón's writings. Comment by Aharon Arvizu Ramirez: Could you please add the link??

https://archive.org/details/puertoricaninnew0000unse

Esta foto es del interior de una fábrica de cigarros en Ybor City, cerca del año 1920.

https://blog.gardencommunitiesfl.com/wp-content/uploads/2022/11/Ybor_Cigar_workers.jpg

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Módulo 1

USLL: Piri Thomas’ Down These Mean Streets

(GS, PDF pp.21-26)

DUE: 4-21

10:00 PM

According to Laguna’s analysis, Down These Mean Streets offers a lens into the experiences of a colored man growing up in East Harlem and his journey in searching for his identity in the face of violence, drugs, gangs, and racism. It is about an individual finding self respect in a society that deprived him of any with his own father rejecting him for his dark complexion. While it is a personal story, it is an experience that belongs to many people and serves as a way to show these experiences from what had been a voiceless community. Comment by Natalia Apffel: Para Piri, el papel de su familia es muy significativo en la exploración de identidad. La dinámica de su familia es muy complicada y, a veces, la familia lástima Piri más de la sociedad racista lástima él. Rodríguez de Laguna habla mucho sobre el peligro del barrio, pero el 'peligro' de la familia es muy importante también. Comment by Aharon Arvizu Ramirez: Very well-articulated!

The essay by Asela Rodríguez de Laguna delves into the themes and structure of Piri Thomas’ 1967 autobiographical masterpiece “Down These Mean Streets”. It is stated that Thomas’s narrative was responsible for the rise of Puerto Rican literature in America. Rodriguez de Laguna traced his life from a boyhood in Spanish Harlem to violence, identity problems, and prison. The author has concentrated on race and ethnic identity as Thomas deals with questions about where he belongs. One of the major topics Rodriguez de Laguna looks at is the idea of racial determination and cultural identity of the protagonist. Thomas’ experiences illuminate home, school, and street navigations. The author highlights the racial tensions between a racially mixed Puerto Rican family and racist American society during the period 1940s-1950s by showing how these were embodied in the main character’s discrimination, rejection, and invisibility. In his moving narrative, Thomas details how being black in Puerto Rico can either elevate or degrade you socially. Comment by Cameron Alcocer-Burdett: I agree that this is a critical theme of the excerpt - where he belongs. Language doesn't change skin color so does that make his race different from Black Americans? Does having a white mother and light-skinned brothers seperate him from being Black or does being dark alienate him from claiming the same identity as his family? This inner conflict and identity crisis reflects the experience of many Afrolatinos. Comment by Aharon Arvizu Ramirez: Well-articulated!

El ensayo de Asela Rodríguez de Laguna trata el libro ‘These Mean Streets’ y provee contexto sobre la historia, el autor Piri Thomas y un análisis de varios temas en la historia. Su análisis se enfoca en el personaje de Piri y sus conflictos, pero también menciona Harlem como un sitio notable o particular en la historia. Piri tiene que navegar la ciudad y, al mismo tiempo, su propia identidad (Rodríguez de Laguna, p. 23). Las dificultades en la vida de Piri dan énfasis a temas particulares: la identidad negra, ‘anti-blackness’ en sociedad y familia, el mito de la indiferencia al color y, sobre todo, la aceptación de su identidad (Rodríguez de Laguna, p. 25). El ensayo enfatiza que su búsqueda de identidad ocurre en un lugar peligroso, literalmente y metafóricamente, en un barrio plagado de crimen y violencia, con una sociedad y familia que ignora su identidad negra y las experiencias raciales (Rodríguez de Laguna, p. 24). Menciona otros elementos como género y sexualidad, pero no son muy pertinentes al pasaje asignado para CJ 3.

I found its analysis on the way we should view the work to be helpful. It narrows the story down into the sentences, “Hey, World - here I am. Hallo, World- this is Piri Thomas. That’s me” (Laguna, 23). It’s a lens into his world perspective and his self-perspective as he navigates his way in East Harlem and the South. Laguna describes that this journey of East Harlem and the South becomes a journey of self-discovery also. Comment by Feiyu Pang: The analysis you mention provides a compelling way of looking at the narrative, focusing on the protagonist's self-declaration and presence in the world. These sentences, "Hey, world - I'm here. Hello, world -- I'm Piri Thomas. This is Who I Am ", a powerful introduction to Piri Thomas' identity, sets the stage for a personal and geographical journey that spans East Harlem and the South.

Rodríguez de Laguna’s framing of “Down These Mean Streets” about Puerto Rican and Nuyorican literature highlights its significance as a literary piece by Thomas. She placed it within the context of being the first attempt to confront stereotypes and misconceptions about race and discrimination that have been passed through the ages. This perspective made me think about how issues of social justice and minority voices were addressed in Thomas’ narrative. Her research assisted me in digging deeper into “Down These Mean Streets” as an important work of ethnic literature, enabling me to examine its messages and techniques. Comment by Cameron Alcocer-Burdett: Reading Laguna's analysis had the same effect on my perspective of the excerpt. While it tells the story of one man, it also speaks of the experience of an entire group of people who struggled with the same fight over their identity.

Opino que el ensayo es útil, pero no es necesario para el lector ni el CJ; lo considero suplementario. La información es pertinente. El contexto sobre el autor, la trama y los personajes aclara unos puntos vagos en el fragmento del libro, los detalles sobre las relaciones familiares en particular. Su análisis de los temas es aceptable, no es algo muy profundo y depende de los textos de otros escritores, pero todavía ofrece apoyo literario. Este texto no impactó mis respuestas, pero no fue una pérdida de tiempo. Comment by Aharon Arvizu Ramirez: ¡Me alegro que haya servido! De eso se trata. Es un complemento.

[CRJ]3

Módulo 1

Excerpt from Down These Mean Streets

(ALR pp.219-231)

DUE: 4-21

10:00 PM

I think the dialect and dialogue is really important in how the characters see themselves. Piri will throw in Spanish words and phrases in conversation as a way to reaffirm his Puertorican heritage or maybe more so reject and deny his Black heritage. He makes strong comparisons between being Black and being Brown but in reality they are just different shades of the same color. He also has his own terms for describing different races for example white people are referred to as “paddies.” Comment by Natalia Apffel: Tienes una interpretación interesante, yo creo que el uso de español (e inglés) es natural o sin intención; su uso de lenguaje no parece deliberado a mí. Sin embargo, tu idea que Piri usa lenguaje para relacionarse con identidades diferentes tiene sentido. Lenguaje hablado es el modo principal de comunicarse con una comunidad y hacer relaciones con otras personas; su utilización de español puede implicar sus ideas sobre su propia pertenencia.

In "Down These Mean Streets," Piri Thomas vividly draws the characters of El Barrio, commonly known as East Harlem or Spanish Harlem, based on an intricate tapestry of pictures. The colour imagery in the whole text stands out. Thomas frequently uses colour to represent the ethnic groups living in the community. This shows that El Barrio is a cosmopolitan community. By using colour in this manner, Thomas touches upon the liveliness and complexity that bring together the many identities of this neighborhood. El Barrio's multi-racial nature and social tensions are underscored by representations of Puerto Ricans and African Americans as varied in skin tone. Comment by Cameron Alcocer-Burdett: I think this is a central aspect of the excerpt - the strong distinction he makes between the color of a Puertorican and a Black person. He makes it clear that he is lighter than his friend Brew to reassure himself he isn't Black. But as Brew points out, they are just different shades of the same color and no matter the different shades, a white person will see it the same.

El autor utiliza lenguaje y diálogo principalmente para caracterizar los personajes y describe el barrio de Harlem. El diálogo entre Piri y su familia revela más sobre el origen de su familia y los problemas y creencias de Piri. La conversación entre Piri y su hermano José demuestra su origen puertorriqueño y el problema con la identidad negra. A pesar de las referencias directas a su etnicidad, ambos hermanos usan una mezcla de inglés y español con facilidad; ninguno de los hermanos necesita traducir sus oraciones (Thomas, p.227). José demuestra su desdén por la identidad negra y la rechaza con ofensas racistas, lo que provoca una pelea entre José y Piri hasta que sus padres intervienen. En un soliloquio después, Piri lamenta la reacción de su madre y preguntar por qué ella no llora por él también; él se lastimó más que José (Thomas, p.230). La caracterización de los personajes es ampliada por la descripción del barrio como un lugar peligroso y racista. Los lectores pueden comparar el racismo en Harlem contra el racismo en la familia de Piri para contextualizar las relaciones. Thomas demuestra los riesgos de Harlem en la primera parte del capítulo con una pelea entre Piri y un grupo de jóvenes blancos en una instancia de violencia racial (Thomas, p. 219). Una conversación con Brew apoya esta imagen del barrio. Ellos afirman que los blancos oprimen a los negros y Brew cuestiona el papel de los puertorriqueños en este sistema, si ellos van a oprimir a los negros porque los blancos oprimen a los puertorriqueños (Thomas, p. 219). Todo muestra la jerarquía racial en Harlem y sus efectos perjudiciales. El diálogo revela información sobre los personajes y las relaciones, pero el contexto de Harlem añade más detalles que muestran la complejidad de la dinámica de las situaciones y relaciones.

I think the use of Spanglish reflects his split identity as a typical American in the United States and his identity as a Puertorican. I think it’s also a reaffirmation to him being Puertorican rather than being Black because he typically uses Spanish words in response to being called Black. We see this in the excerpt, : “I felt my chest get tighter and tighter. I said, "I ain't no damn Negro and I ain't no paddy. I'm Puerto Rican." "You think that means anything to them James Crow paddies?" Brew said coolly. "Coño," I mumbled” (Thomas, 222). Secondly, his blend of poetic and metaphoric language combined with foul language reflects his inner thoughts and processing of the outside world around him. Comment by Feiyu Pang: Your analysis provides insight into the complexity of the identity portrayed by language in a narrative. The character's use of Spanglish does seem to be a sign of his dual identity - navigating the American environment while affirming his Puerto Rican heritage.

Piri Thomas's "Down These Mean Streets" is a novel in which he marvellously uses different languages to describe the wide range of characters and situations in El Barrio. Metaphoric and poetic forms of novels animate the story. To describe the sights, sounds and feelings in the neighbourhood, Thomas employs strong imagery and figurative language; for instance, he writes about a variety of people in El Barrio as follows: "I tried to count their different shades and colours, but I gave it up after a while." Among the metaphors is the reflection of a wide variety of people living together, which might convey social problems or racial conflicts. A poetic description from Thomas also gives the tone a lyrical twist, making the reader experience the journey or triumph/disappointment of any of the characters through their senses here. Comment by Natalia Apffel: Esta es una oración corta, pero significativa porque demuestra la diversidad de Harlem.  Existen tantas identidades y apariencias diferentes que no puede hacer una lista precisa. Creo que 'variety of people' es la frase perfecta para tu respuesta.

Aprecio ambos tipos de lenguaje por sus efectos diferentes, la lengua callejera expresa pura emoción, mientras el lenguaje poético es más preciso e informativo. La jerga callejera apoya la estrategia de ‘mostrar en vez de contar’, los lectores entienden los varios puntos en la trama y pueden identificar los temas sin declaraciones directas del autor. El autor nunca describe las relaciones de Piri, pero usa conversaciones e interacciones para mostrarlas. Existe un hueco entre Piri y su hermano, José no sabe mucho sobre la vida personal de Piri. A pesar de ser hermanos, José no está familiarizado con la jerga utilizada por Piri. Un término Piri dice unas veces es ‘Mr. Charlie’, que denota la caricatura de un hombre blanco y rico, que aparece amable para ocultar su crueldad. José está perplejo y pregunta quién es este hombre, ‘Mr. Charlie, Mr. Charlie. Who the fuck is he?’(Thomas, p. 228). José no sabe bastante sobre su hermano, él no sabe este término y no puede inferir con el contexto de la conversación sobre raza; demuestra una falta de interés o conocimiento. El lenguaje también muestra las relaciones sanas y amables, usa insultos y palabrotas como herramientas de humor o para enfatizar algo. En el juego verbal con Brew, ‘the dozens’, ellos se burlan y maldicen, pero en esta instancia del juego Piri no puede bromear y está inquieto (Thomas, p. 221). Esta escena demuestra el lazo entre Piri y Brew, ellos pueden burlarse, contar chistes, pelear y discutir temas complejos como raza, identidad, racismo, opresión y conflictos familiares, etc. En vez de escribir que Brew es un amigo mejor y describir porque, el autor muestra su amistad con diálogo y utiliza las palabrotas para dar énfasis a los sentimientos de los personajes y enfatizar su familiaridad. El lenguaje metafórico no revela información así, típicamente ofrece un resumen o comparación al fin de un evento o punto en la trama, un ejemplo es la comparación de la pelea entre Piri y José con la pelea bíblica entre Caín y Abel (Thomas, p. 230). No provee información nueva, aclara la información que ya entendemos. Ambos tipos de lenguaje son informativos e interesantes, pero tienen propósitos y efectos diferentes.

The characters place critical importance over their ethno-racial identity and are even hostile when their view of themselves differs from others. Piri makes it clear with Brew that he is Puertorican which is different from Black (Thomas 222). He assures himself that he is less dark than Brew to help his case.. Similarly, Piri’s brother fights to defend Piri’s non-black identity and reassures himself that he cannot be part Black because he has blue eyes and almost blonde hair (Thomas 228). Both works deal with the racial hierarchy that places Black at the bottom. Ultimately, it reflects how institutional racism and colorism is ingrained in our society and how it affects the Afro-Latino community. They show how people navigate their identity in the face of these prejudices and discrimination. They focus on the internal struggle and battles that people have over claiming agency over their identity. Comment by Natalia Apffel: Estoy de acuerdo con tu análisis y creo que esta oración en particular refleja la discusión sobre fenomenología en el video con el panel de expertos. La idea de una batalla interna está ligado a la ideología de supremacía blanca, un ejemplo de estas batallas internas es el proceso de borrar ese modo de pensar y esas creencias de la memoria.

The excerpt from "Down These Mean Streets" relates to the Afro-Latinx Experts Talk About Racism in Activity 3 by shedding light on the experiences of Afro-Latinx individuals navigating racial identity and discrimination issues. The reading and activity acknowledge the complexity of identity, as characters and experts speak to how race, ethnicity, and culture eventually determine one's life. It reveals how the concept of institutional racism and colorism is affecting the Afro-Latin American community as well, which requires more attention in the racial justice and equity discussion. The reading and activity also explore the complexity of mixed race and its impact on identity formation, revealing that people gain identities in a society determined by attitudes and power systems. The "Down These Mean Streets" sample provides a complex perspective of "ethno-racial identity" and "miscegenation" and ultimately illustrates urban Afro-Latinx life. Comment by Cameron Alcocer-Burdett: I agree that both works highlight the battle over identity that arises from socially determined attitudes and power systems. If Black is at the bottom of the social hierarchy, people will fight to ensure they are not placed at the bottom.

La historia de Piri Thomas está ligada al tema de blanqueamiento, una idea central en el video con el panel de los expertos. Los expertos discuten blanqueamiento en varios contextos, pero enfocan en el papel de la familia en blanqueamiento y la idea de adelantar la raza. Las experiencias y diálogo de Piri ofrece una definición de blanqueamiento y ejemplos de su manifestación en vida real dentro el contexto de familia. En la pelea con José, Piri hace la observación que José, James (un otro hermano) y su padre parecen obsesivos con ser blancos y dice que su padre cree que ‘marrying a white woman made him white’ (Thomas, p. 229). Piri reconoce que su familia rechaza la identidad negra y está perturbado por la invalidación de su propia identidad. Esa invalidación provoca la pelea con José, quien lamenta que él y James tienen que explicar y, según Piri, ‘excusar’ el color de la piel de Piri y su pelo rizado (Thomas, p. 229-30). Para las familias latinas que siguen las ideas de blanqueamiento, el rechazo de la identidad negra convive con la aprobación y amor para sus parientes negras o, según esas familias, sus parientes que parecen negras. Piri Thomas demuestra los efectos perjudiciales de blanqueamiento para los parientes negros, una existencia y apariencia equivocada, algo que necesita una justificación. Esa escena ejemplifica todo lo que los expertos tratan en su panel; qué es blanqueamiento, cómo afectan las familias y cómo afecta a las personas negras en la familia.

[CRJ]4

Módulo 1

Puerto Rican Language and Culture in the U.S. (PDF pp.157-181)

Juan Flores

DUE: 4-23

10:00 PM

The author explores the level of Puertorican assimilation into American culture. It analyzes the split language identity and the constant use of code-switching. It questions whether this reflects losing their sense of identity or has this become a part of their identity. It also questions the benefits of learning both languages as it discusses if learning English is opening more doors or hurting their development of Spanish thus leaving them with two “broken” dialects. Comment by Feiyu Pang: This analysis delves into the subtle experience of Puerto Rican assimilation into American culture, particularly through the lens of language. The prevailing discussion of divisive linguistic identities and code-switching captures a crucial cultural negotiation for many Puerto Ricans.

The author's thesis examines Puerto Rican assimilation into American culture, emphasizing on language and culture. They claim that cultural integration, such as language acquisition, is not always desirable or easy. The main points challenge the idea that language acquisition alone advances society, stress the forceful history of language imposition, and question the usefulness of education in resolving systemic disparities faced by Puerto Ricans in the US. In the face of assimilation, the author stresses the significance of identifying and valuing Puerto Rican cultural production and identity. Comment by Cameron Alcocer-Burdett: I like how it brought up the challenges and negatives of forcing language acquisition and imposing a culture onto another culture. I think it is important that Puertoricans take pride in their dialect and language as it is a reflection of their unique experiences.

I thought it was upsetting that people view the Puertorican dialect as inferior to other forms of Spanish. As it mentioned, Puertorican Spanish, with its mixture of indigenous, African, and peasant qualities, is stigmatized as a corruption of the pure mother tongue and less faithful than other variations of Latin American Spanish (Flores 164). Additionally, how code-switching is stigmatized as lacking skills in both languages.

[CRJ]4

Módulo 1

Nuyorican Poetry Selection + “Puerto Rican Obituary” .

(PDF)

Tato Laviera, Pedro Pietri

DUE: 4-23

10:00 PM

A key theme is expressing the realities of being a Puertorican. This is shown in expressing their identity through their language, through discussing their roots, and through describing the hardships that they must endure. These hardships include the pressure to assimilate into American culture, hiding their race to “mejorar la raza,” and the struggle of being integrated into society due to language barriers. This struggle can be seen in the lines, “speak english sir, don’t understand a word you say” (Laviera 30). Comment by Feiyu Pang: As described in the literature, your analysis highlights an important aspect of the theme of identity and cultural struggle within the Puerto Rican community. By focusing on the language, roots, and personal difficulties of Puerto Ricans, the topics you describe offer an insightful exploration of the complex dynamics of assimilation and cultural preservation.

Reading this piece, I'm struck by the nuanced exploration of Puerto Rican assimilation into American culture. The criticism of language learning as the sole indicator of integration contradicts common thinking. The author's claim, “trading Puerto Rican Spanish for communicative skills in English-turns out to be not so much a life-enlarging," resonates with me. It brings up issues of linguistic violence and culture preservation as well. The importance of social status in educational performance raises questions on systemic inequities, necessitating a deeper analysis of structural obstacles experienced by marginalized communities.

Both this poetry selection and Flores’ essay involve the split and code-switching language of Spanish and English. They both reflect the concept that they can’t speak either language properly. This is reflected in the line, “so it is spanglish to matao what I digo. Ay, virgen, , yo no sé hablar!” (La Carreta 7). Secondly, it discusses the struggles that arise from these language barriers and how they are excluded from society and opportunities because of it.

Nuyorican poetry portrays the cultural, social, and personal experiences of Puerto Rican migrants in N.Y.C. Salsa, plena, and other African-influenced components are used to celebrate and explore Afro-Caribbean identity. By suggesting that salsa is universal because it has African roots shared by various groups, the poem underlines music and dance as symbols of cultural pride & resistance. Furthermore, these poems also deal with racial identity and racism within languages and cultures when some struggle to remain authentic against society's pressure to adopt the English language. Lastly, unemployment and working-class people's struggles with bureaucracy and language show economic struggle as an act of marginalization; they declare Nuyorican identity, cultural resilience, and the city's persistent desire for belongingness and empowerment. Comment by Cameron Alcocer-Burdett: I liked how this poetry treated African roots with more pride and how it acted as a force of resistance against pressures to lose their culture through fully assimilating into American culture. I liked how it uses salsa which is something that many people love to draw people together while respecting the roots through which it came.

I liked the La Carreta poem the most because it portrays the split sense of identity of Puertoricans. I found this phrase to be very interesting, “I think in spanglish, I write in English” (Laviera 7). It shows the split identity but it also shows how expressing their true self is restricted. They think in Spanglish, but they have to write and talk in English. Not only is their identity split, but perhaps it is lost as they feel they cannot speak either language properly.

This poetry illustrates Juan Flores' contention about Puerto Rican language culture in the U.S.A. Linguistic Cultural Dynamics. The poems aim to demonstrate how migration affects language, culture, and identity through urban life. They supplement what Flores has described about how Puerto Rican linguistic-cultural development has taken place in America, describing their strenuous efforts at maintaining their language and culture.

“A Brief Guide to Nuyorican Poetry.” Poets.Org, Academy of American Poets, 4 Apr. 2019, poets.org/text/brief-guide-nuyorican-poetry.

This article gives some background information to better understand the Nuyorican movement.

The poem "Unemployment Line" poignantly exposes economic hardship and struggles for dignity against bureaucratic indifference. According to this poem, Joblessness dehumanizes individuals; thus, it becomes difficult for one to be noticed in an oppressive in an oppressive system.

[CRJ]5

Módulo 1

The Poet X

(Part I pp.3-92)

Elizabeth Acevedo

DUE: 5-5

10:00 PM

I would describe “The Poet X” as a young-adult novel that tells the story of a teenage girl living in Harlem who uses poetry to express herself and navigate her identity. I would say the most prominent theme is struggling with conformity and external expectations and how these are connected to race, culture, and gender. It centers on this girl attempting to find her own voice in a society that tells her to be quiet which I think is a theme that resonates with many people but particularly young adults and teenagers. In regard to the style, I love that it is very personal and easy to follow and feels as if the character is simply having a conversation with the reader. Comment by Feiyu Pang: The style of dialogue you emphasize seems to enhance the personal connection between the protagonist and the reader, making her journey more engaging and authentic. It seems to be a compelling read that is not only enjoyable, but deeply resonant and encourages the reader to reflect. Comment by Natalia Apffel: Creo que esa palabra es un clave para entender la protagonista. A pesar de las tradiciones mismas, las expectaciones y reacciones a esas tradiciones son muy pertinente a Xiomara. Ella vale mucha las opiniones de ciertos seres queridas en general y ella también lamenta varias ideas de sociedad sobre mujeres y sexo.

In an informal discussion, I would describe "The Poet X" as a fabulous YA novel that dives into the life of a Dominican-American teenager named Xiomara. It is all about her coming out of her shell and exploring this world of poetry while dealing with the pressures of her family, being black and young, and coming of age in Harlem. The way the writer describes things makes you attached to Xiomara, and you find yourself experiencing everything she does.

. "The Poet X" was my favorite. Xiomara's character is very relatable, especially her inner struggles with identity and her passion for poetry. The way Acevedo writes the poetry in verse makes the story much deeper and more emotional. Among my most favorite moments is when Xiomara finally tells her mother off and articulates her own views, for instance, when she says, " I only know that learning to believe in the power of my own words has been the most freeing experience of my life." This is just so empowering. Reading this book was a truly immersive experience, and it was impossible to stop reading it. Comment by Cameron Alcocer-Burdett: I agree that this was a very powerful quote in the book. I think its something that many young adults need to hear. We feel trapped when we live our lives under the control of other people or forces. We need to value our voice in order to be free and enjoy life which Xiomara comes to realize.

The Poet X es un libro de poemas que describen la niñez de una chica dominicana, Xiomara. Trata temas como religión, familia, misoginia, sexo, represión de su identidad, educación y la inseguridad de pubertad. Cada poema desarrolla una historia particular, su relación con su hermano/gemelo, su rechazo de religión, y su nuevo año en escuela secundaria. Utiliza varios formatos de poemas, el poema ‘Holding a poem’ describe su conflicto interno sobre religión y su escape, poesía. No sigue reglas estrictas, las estrofas son 2 - 5 versos y las pausas reflejan pausas en la mente de la narradora. Otros poemas son más vagos, algunos son funcionan como una transición y otros tienen una forma específica. ‘Haiku’ es un ejemplo de una transición que sigue las reglas de un haiku sobre las sílabas. Esto es la introducción por la conversación entre ‘X’ y su amiga mejor ‘C’, el poema ‘Boys’. Es un método único de contar una historia y me gusta mucho la organización y variación de los poemas. No hay una opinión fuerte sobre la historia, creo que los sentimientos de la narradora son menos interesantes de los eventos en su vida. En particular, la inmadurez de la protagonista es, a veces, irritante. No es un punto negativo o algo ‘incorrecto’ en la historia, son las experiencias y opiniones de una joven insegura y, por eso, van a parecer infantiles. Sin embargo, existen algunos momentos que dan vergüenza, su tratamiento de su hermano en ‘Altar Boy’ en particular.

I would say I think the book is very relatable for young adults because I think Xiomara’s experiences are shared by many her age. I think many struggle in finding their voice in the face of societal pressure and parental expectations that can make us feel drowned. Her experiences are directly related to us because we are from the same generation. Secondly, I think AfroLatinos and women could resonate even more with her experiences as they share the same background and probably face many of the same challenges. For example, the unwanted attention and comments she receives from men is a harsh experience that many women will experience. Comment by Natalia Apffel: Mi respuesta se enfoca en la edad de los lectores y enfatiza el valor del conocimiento sobre nuestra cultura contemporánea. Creo que las referencias culturales son muy importante para el mensaje de cada poema. Una persona que no sabe nada sobre las artistas modernas no va a entender la perspectiva de Xiomara y, entonces, su interpretación del mundo.

In an informal discussion, I would describe "The Poet X" as a fabulous YA novel that dives into the life of a Dominican-American teenager named Xiomara. It is all about her coming out of her shell and exploring this world of poetry while dealing with the pressures of her family, being black and young, and coming of age in Harlem. The way the writer describes things makes you attached to Xiomara, and you find yourself experiencing everything she does.

. "The Poet X" was my favorite. Xiomara's character is very relatable, especially her inner struggles with identity and her passion for poetry. The way Acevedo writes the poetry in verse makes the story much deeper and more emotional. Among my most favorite moments is when Xiomara finally tells her mother off and articulates her own views, for instance, when she says, " I only know that learning to believe in the power of my own words has been the most freeing experience of my life." This is just so empowering. Reading this book was a truly immersive experience, and it was impossible to stop reading it.

Opino que todos pueden leer este libro, pero solo unos lectores son parte de su público deseado. Solo las escritoras jóvenes van a identificarse con la historia de Xiomara. Los poemas no tienen sentido si no entiende la cultura contemporánea: música, celebridades, tecnología y más. Todos son símbolos o referencias centrales en varios poemas. Por ejemplo, el poema ‘Asylum’ es muy difícil entender si no está familiarizado con los artistas Drake o Kanye; es incomprensible si no sabe mucho sobre las computadoras y sus programas como Khan Academy. El libro enfatiza el valor de la poesía y literatura como un escape y una comunidad compasiva. Todos son referencias a la cultura contemporánea que lectores jóvenes van a entender fácilmente. El poema ‘Spoken word’ presenta poesía como un regalo; es un modo de expresar las penas y encontrar otras que sufren las mismas dificultades. Este poema es un signo para esos lectores, ellos van a entender esta historia que es similar a sus propias experiencias. Parece que todos pueden disfrutar la poesía, pero solo unas van a entender la experiencia y el mensaje entero de la autora. Comment by Feiyu Pang: You highlight the value of poetry as a form of community and emotional escape, which is a very valuable point. It's an apt observation that while some readers may enjoy the artistry and structure of the poems, others will find deeper, more personal meaning through the cultural references and shared experiences they evoke. Comment by Cameron Alcocer-Burdett: I agree that while anyone can enjoy the book, only young generations can fully resonate with the themes and experiences. It's a coming of age story but a story that belongs to this generation. Secondly, as you mention, the book uses several contemporary references that many other readers wouldn't be familiar with thus restricting them from fully understanding the author's point of view.

[CRJ]6

Módulo 1

The Poet X

(Part II pp.95-220)

Elizabeth Acevedo

DUE: 5-7

10:00 PM

Xiomara’s relationship with her parents is a common one amongst immigrant families. Her mother has strict religious and cultural expectations that she forces Xiomara to abide by. She wants to dictate her behavior and interests. When Xiomara’s body grew to allegedly reject these values her mother resented her for it. This reminded me of Piri from “Down these Mean Streets” as the father rejected Piri for having a darker complexion than his siblings. Yet, Xiomara’s body and Piri’s skin color are things that are out of their control. Secondly, there is nothing wrong about either of them and they shouldn’t be judged or resented for them. Comment by Feiyu Pang: This comment insightfully explores the thematic parallels between Xiomara's experiences in her narrative and Piri's in "Down These Mean Streets." It highlights a poignant issue common in many immigrant and diverse familial settings: the conflict between traditional expectations and the individual identities of younger generations. Both characters are criticized for physical traits beyond their control, which serves as a metaphor for broader social and cultural conflicts. Comment by Aharon Arvizu Ramirez: Support your response with textual evidence.

In "The Poet X," the author shows the link between Xiomara and her twin brother Xavier in the same way Piri Thomas does in his book "Down These Mean Streets." This reflects on the brother-sister relationship in the work and draws the reader's attention to the complexities of family ties in the Latinx community. Xiomara and Xavier's relationship is built on their mutual understanding of one another and their similar experiences. They could be similar to the type of kinship that is found between Piri, the main character, and his brother in the novel "Down These Mean Streets," when they both face the struggles of adolescence together and offer each other the comfort and support they need in their adverse surroundings. Similarly, to Piri's relationship with his brother, José, Xiomara and Xavier experience a number of awkward and tense instances as well. They try to reconcile their personal targets with their parents' will, which conflicts with them. This fight is so thick that it can be felt when Xiomara and Xavier argue with their father about their freedom and independence, although their family disapproves of their wishes. Even though they are different people, Xiomara and Xavier stand with each other, which is proof of the strong bond of a sibling that can withstand any difficulties. They demonstrate that family love and unity are powerful, as in the case of loyalty and relationships in "Down These Mean Streets." Comment by Natalia Apffel: Yo también hablo sobre los hermanos en 'Drown', pero yo enfoco solamente en las diferencias entre estos hermanos y los gemelos. Creo que el elemento de violencia en la relación entre Piri y José es demasiado dramático para ignorar; es difícil para comparar relaciones tan diferentes. Comment by Aharon Arvizu Ramirez: Support your response with textual evidence.

Un tipo de relaciones familiares que aparece en The Poet X y juega un papel central en la historia es la relación entre los hermanos. En este caso, los hermanos son gemelos: la protagonista Xiomara y su hermano, Xavier. Ellos disfrutan una relación sana y alegre, ellos tienen una historia larga de apoyo y afecto. El poema ‘Ice Skating’ muestra su niñez cariña y el tiempo que ellos han pasado juntos. Debemos notar la reacción compasiva de Xiomara a la orientación sexual de su hermano en el poema ‘Gay’ y también el intento débil de Xavier a defender a su gemela contra su madre en el poema ‘Fear’. Estas reacciones demuestran la solidaridad que ellos han creado. Esta es la relación más sana de todas que hemos visto en los otros textos de nuestro curso. Las peleas entre los gemelos no son físicas y, típicamente, son cortas; no duran más de uno o dos poemas. Los primeros poemas sobre Xavier en parte II (poemas 2-5) demuestran el alcance de sus peleas, irritación leve y envidia. Sus peleas no son violentas, como la pelea sangrienta entre Piri y su hermano José en Down These Mean Streets (Thomas p.230). De hecho, las peleas violentas que ocurren en los poemas son iniciadas por Xiomara en la defensa de Xavier, el poema ‘Fights’ es un ejemplo. La relación entre los hermanos en Drown es bastante sana y carina, pero no es tan íntima ni abierta como la relación entre los gemelos. ‘Leaving’ muestra que Xiomara y Xavier reconocen los problemas en su familia y los discuten honestamente a diferencia de los hermanos en Drown, quienes hacen referencias vagas a sus problemas y el adulterio de su padre (Díaz p.42-43). Los gemelos de The Poet X tienen una relación alentadora y ellos son cercas durante todo el libro, las otras lecturas de esta clase no presentan una relación similar en sus historias.

Something that is upsetting is that while her mother provides strict expectations and rules for Xiomara to follow, she doesn’t offer any love or support to her. Children should think that their parents are on their team rather than against them. Parents shouldn’t have a relationship with their children that causes them to look forward to the day they can move out like how Xiomara and her twin desire. Another upsetting and sad element of the book is how no one stands up or fights for Xiomara. She has to fight for herself which is exhausting and lonely. For example, in a moment of vulnerability with her menstruation, her mother reprimands her. Secondly, when she is harassed by a guy at school, Aman doesn’t do anything to help her. It’s sad because while she fights to make sure her Twin is okay and that no one gives him trouble, she doesn’t have someone like that in her life. Comment by Feiyu Pang: Your commentary highlights important themes of loneliness, lack of support, and parental expectations in the story, which seem to significantly affect the protagonist, Xiomara. It's poignant to consider how these elements contribute to her sense of isolation and the burden of having to fend for herself in various challenging situations.

The part of The Poet X that I found most relatable was Xiomara's story of menstruation and the absence of her mother, Mami, to help and guide her through this new experience. This kind of demonstration of the theme is that Mami's actions imprison Xiomara not only physically but also mentally. Her mother does not accommodate her with the appropriate knowledge and direction that Xiomara brings to light. Rather than being a shoulder, her daughter can cry on during this coming-of-age moment, Mami replies with physical abuse and hurtful words, which in turn make Xiomara feel more and more lonely and ashamed. This scene illustrates the strong impact that parental neglect can have on a person's psychological development and the great strength of the human soul to overcome any obstacle. In addition, Xiomara getting close to her brother is a stable base and solid support she needs in the middle of family conflicts. Thus, the third dimension of the story gives a chance to the reader to understand the complex nature of family relationships, the realization of selfhood, and the strength necessary to face the difficulties of being a teenager in the middle of adversity. Comment by Cameron Alcocer-Burdett: I found this part to be highly significant and sad. While a mother should be their child's greatest supporter, the mother acts like she is an enemy. In a vulnerable and scary time in Xiamora's life and in need of support, her mother reprimanded her for trying to take care of herself. I think this is one of the events that made Xiamora realize that she needed to navigate life and its challenges by herself and in order to do that she needed to be strong and resilient.

Un elemento que quiero discutir es el crecimiento personal de Xiomara en el contexto de su valor y la confianza en sí misma. Podemos utilizar los poemas que hacen referencias a su tarea, todos con la palabra ‘assignment’ en su título. Los poemas que son ‘drafts’ revelan los sentimientos reales de Xiomara, poemas que hablan sobre sus conflictos internos o sus problemas familiares. Los poemas que demuestran la última versión de su tarea demuestra lo que ella puede expresar sin miedo y nervios; también muestran lo que ella quiere ocultar. Las diferencias entre las tareas son inesperadas y frustrantes, los cambios de temas y actitudes son significativos. En el primer par de esos poemas (‘assignment 1’), Xiomara quería escribir sobre su menstruación y la reacción negativa de su madre, pero ella escribe sobre un regalo muy especial que ella recibió de su hermano, Xavier. Son textos muy diferentes, pero esta diferencia demuestra su inseguridad y sus sentimientos escondidos. Los temas de su cuerpo y su feminidad son comunes en los poemas de los ‘assignments’ y podemos notar una tendencia positiva en cada poema que culmina con el poema ‘Cuero’. Ella escribe sobre los cuerpos, la feminidad y la habilidad de otras mujeres en su tarea, como la artista Nicki Minaj. Ella celebra a esas mujeres y aprende a celebrar su propio cuerpo y feminidad. Al fin del poema ‘Cuero’, ella rechaza las ideas y tradiciones misóginas de su familia y acepta la etiqueta despreciativa ‘cuero’. Todo presenta un cambio impresionante y el crecimiento de su autoestima; ella puede expresar sus sentimientos sin miedo y no despreciable su apariencia. La aceptación de su identidad y el desarrollo de su valentía mejora su vida y ‘cura’ sus relaciones con sus padres. Su crecimiento es muy conmovedor y el aspecto que me gusta más en la historia, su madurez es admirable.

[CRJ]6

Módulo 1

The Poet X

(Parts I, II & III)

Elizabeth Acevedo

DUE: 5-7

10:00 PM

I think “The Poet X” is a perfect fit for the literary tradition of Latinx Caribbean writing in the U.S. Xiomara faces many challenges that are staples to the Caribbean immigrant experience. She faces strict cultural expectations and is a victim to strict gender roles. She faces the common struggle of trying to fit in, find a voice, and accept herself. I think her experience is most similar to Yunior from “Drown” by Junot Diaz as they both are young teenagers just trying to find their way in the world and make sense of the things around them. They want to find their voice and express themselves but their expression is in opposition to the values given by their family or cultural norms. Ultimately, they are coming of age stories of trying to find a voice in a society that tries to silence it.

"The Poet X" by Elizabeth Acevedo is a novel that fits perfectly into the literary legacy of U. S. Latinx Caribbean literature, evolving the subjects and techniques that were born in the pioneering works such as "Down These Mean Streets" by Piri Thomas, Nuyorican poetry, and "Drown" by Junot Díaz. Similar to Tomás' protagonist, Xiomara also finds herself struggling through the intricacies of growing up in an urban setting, where she faces the challenge of finding herself, fitting in, and expressing herself among all the difficulties of her surroundings. The author, Acevedo, draws attention to the complexities of the life of Latinx people in the United States using Xiomara's development, suggesting that race, gender, and class are among the factors that determine the way someone perceives themself and the way that person develops resilience.

On the other hand, "The Poet X" is very similar to the spirit of Nuyorican poetry as it uses language not just as a tool for self-expression but as a form of empowerment. Xiomara's poetic journey resembles the challenges that Nuyorican poets confront when they use poetry as their weapon of choice for reclaiming their voice and their identity in the face of discrimination and oppression. Acevedo's poetic style of writing echoes the spoken word poetry, so the reader can enjoy the reading due to its rhythmic nature, which is reminiscent of the Nuyorican literary tradition. Besides that, the work of Díaz is seen in the area of family dynamics, masculinity, and coming-of-age experiences that are part of the life of the Latinx community. Whereas Díaz tells the story from the perspective of young Dominican men, Acevedo changes the narrative focus to highlight a young Afro-Latina woman, adding a delicate shade to the painting of gender, race, and sexuality in the Latinx diaspora. In sum, "The Poet X" enriches the U. S. Latinx Caribbean writing landscape by furthering the themes, style, and narrative that were set beforehand by pioneering works and contributing to a greater dialogue on identity, culture, and self-expression in the Latinx diaspora. Comment by Natalia Apffel: Tu análisis es muy claro y fuerte, has notado conexiones que yo no reconocí. Un punto interesante es que unos de los poemas de Acevedo hacen referencias a la literatura 'Nuyorican' y honoran a los poetas de este género. En mi opinión, 'The Poet X' es un libro muy 'consciente'.

Creo que The Poet X enfatiza el ‘propósito’ de los otros escritores que hemos visto en nuestra clase. Los poemas ‘Haiku’ y ‘Day After English Class’ funcionan como un resumen del mensaje de esta autora, los poemas son una manera de expresar sentimientos, crear relaciones y encontrar una comunidad. Sin embargo, es el poema ‘Invitation’ que revela su propósito: ofrece a otras personas la misma oportunidad para sentirse incluidas, escuchadas y visibles. Claro, los autores escriben para contar una historia, pero también escriben para apoyar a sus lectores y promover su comunidad a los miembros ‘perdidos’. Este libro es muy consciente de su puesto en literatura y muestra su aprecio por sus contemporáneos y sus fundadores en los poemas como ‘Open mic night’ y ‘All the Way Hype’; ambos celebran los impactos de la poesía ‘Nuyorican’. El libro entiende el valor de este tipo de literatura y enfatiza el papel de la literatura como una salida para los jóvenes y las personas marginalizadas. Todas las lecturas tratan temas e ideas similares en épocas diferentes, este libro es muy consciente de su propia historia literaria. Comment by Cameron Alcocer-Burdett: Estoy de acuerdo de que este libro no sólo cuenta una historia sino que sirve para que otras personas sepan que existen personas como ellos. Mientras ella da su voz, intenta ayudar a otros a encontrar también su propia voz.

“This Poet Wants Brown Girls to Know They’re Worthy of Being the Hero and the Author.” YouTube, YouTube, 8 Mar. 2018, www.youtube.com/watch?v=2Bz0mjIL1q4.

González-Andrieu, C. (2017). Afro-Latina artist reimagines Michelangelo's "The Creation of Adam". American Magazine . Retrieved From: https://www.americamagazine.org/arts-culture/2017/06/06/afro-latina-artist-reimagines-michelangelos-creation-adam . (Acessed on 7th May 2024)

The painting "The Creation of God" by Harmonia Rosales has many themes in common with "The Poet X" by Elizabeth Acevedo, which are expressed as the identity, representation, and empowerment of the marginalized community. In the same way, as Rosales creates new stories that defy the dominant European and patriarchal interpretations of the God concept, Acevedo's novel focuses on the life of Xiomara, an Afro-Latina teenager who is trying to reconcile with the realities of her identity in a society that often deprived her and her peers of their voices. The painting and the novel are both vehicles for the Afro-Latinx culture's celebration of its beauty and strength. They offer an alternative way of seeing traditional representations and encourage the adoption of different perspectives. Similarly, the art of Rosales also evokes the idea of the co-existence of race, gender, and spirituality, just as "The Poet X" explores the intersections of culture, identity, and self-expression. It underlines the power of art in reclaiming the voice and self-asserting.

Turtle Bay brownstone stoop. 7 Dec. 2020. Ephemeral New York, Wordpress, https://ephemeralnewyork.wordpress.com/wp-content/uploads/2020/12/stoopturtlebaybrownstone.jpg. Accessed 7 May 2024.

Esta es una foto de los ‘stoops’ en Nueva York, un sitio social que The Poet X menciona en varios poemas.

[CRJ]7

Módulo 1

Of Women and Salt

(Chapters 1-6)

Gabriela García

DUE: 5-17

10:00 PM

María Isabel is the only woman worker of a large cigar factory in Cuba. She is severely committed to her work and makes sure never to miss. I would describe her as a very strong woman. She has a deep desire to learn which is expressed through her eagerness to learn how to read. She is committed to escaping the rough circumstances she has been dealt with but she has tremendous resistance which I think was most powerful in the part where she gives birth. Another character is Jeanette who is a recovering addict who is in love with Mario who is also a recovering addict. I think she is shown to be very sympathetic in the way she takes care of Ana and is hesitant to call the police because she wants to make sure Ana ends up okay. She isn’t taking care of her out of responsibility, but genuine compassion and empathy. Comment by Aharon Arvizu Ramirez: Support your response with textual evidence.

In the 1-6 chapters of "Of Women and Salt" by Gabriela García, two characters that are remarkable are María Isabel and Carmen. María Isabel is portrayed as a girl who is employed in a cigar factory and who is fascinated by the novels that the lector reads to her; thus, she is a person who is eager to acquire new knowledge and who is a person who is in search of an escape from a very difficult reality. Her perseverance and the desire for a different life are clearly visible when she deals with the difficulties of her work environment and her family duties. On the contrary, Carmen is depicted as a very precise hostess, trying to keep a calm face while handling family problems and personal issues. Her controlling nature towards her daughter, Jeanette, and her confrontational approach towards Mario show that she is a strong-willed and assertive person. Both characters have layers and depth; that is, María Isabel's desire for a better future and Carmen's inner conflict are added to their personalities. Although María Isabel's goals and Carmen's caregiving trait make them likable, their difficulties and vulnerabilities also stir the readers' sympathy, thus, they are presented as multidimensional characters. Comment by Cameron Alcocer-Burdett: I agree that this quality was very prominent in her character. She is incredibly committed to her work which is also highly motivated by her desire to see her mother stop working as she too works all the time. In this sense, I think she is a sympathetic character. Comment by Cameron Alcocer-Burdett: I agree that Carmen is a very responsible character which Jeanette references as a reason why they are so different. However, I would say Carmen is a less sympathetic character as she felt it wasn't her responsibility to take care of Ana. However, this can also be seen under the lens that she just wanted to make sure her daughter was okay and didn't get into trouble.

María Isabel es la única mujer que trabaja en su fábrica donde crea cigarros. Ella es un personaje bien desarrollado, tiene un amor por su familia y su esposo, pero también tiene sus propios intereses. Ella vale las historias, ella quiere aprender a leer y sueña en contar sus propios narrativos. María Isabel es muy fuerte y apoya causas políticas, la independencia de Cuba, principalmente. Contra riesgos y peligros graves, ella persigue sus deseos y lucha contra mucha adversidad. Desafortunadamente, su resistencia tiene consecuencias penosas, la muerte de su esposo por las realistas que apoya el reinado de España sobre Cuba (García p. 29-30). Comment by Aharon Arvizu Ramirez: ¡Bien citado, Natalia!

Otro personaje principal es Gloria, una mujer de El Salvador que vive en los Estados Unidos con su hija Ana hasta sus deportaciones a México (García p. 56). Gloria no es un miembro de la familia de María Isabel, ella es vecina de Jeanette en el año 2014. El segundo capítulo se enfoca en su hija Ana y los intentos débiles de Jeanette por apoyar a Ana después de la deportación de Gloria. Los capítulos tres y cinco son en la perspectiva de Gloria y demuestra su dificultad en México como una trabajadora indocumentada. Utilizan la primera persona en estos capítulos y Gloria refleja mucho en su pasado, su identidad como una madre y ella piensa mucho en su hija Ana. La relación entre Ana y su madre es conmovedora e inspira esperanza contra tragedia o eventos traumáticos (García p. 78). Los temas de resistencia, violencia y la importancia de la familia son comunes en las historias de ambas mujeres, ellas son los personajes más humanos y compasivos en mi opinión. A mí, Gloria y María Isabel son los personajes mejores del libro y cuentan historias muy trágicas pero resilientes. Comment by Aharon Arvizu Ramirez: Buen uso de citas

The story structure is very fragmented and doesn’t tell a very linear and chronological story. The story changes the speaker of the narrative with every chapter and the timeline also changes. The first chapter starts in the 1800s in Cuba which then drastically changes into 2014 in Miami. Additionally, the story will also go back in time rather than only moving chronologically. For example, we first get Jeanette’s timeline in 2014, but then in another chapter we get her story from 2002. I think this structure allows the author to better bridge and draw connections between the characters across multiple generations. In reference to shifting between different timelines within the same character, I think this establishes an interesting form of character development. Comment by Feiyu Pang: The story's fragmented structure changes speakers and timelines with each chapter, creating a dynamic and multifaceted narrative. The author begins with Cuba in the 1800s and then jumps to Miami in 2014, effectively juxtaposing different historical and cultural contexts. This non-linear approach allows for a richer exploration of theme and character development, as it reveals the interconnectedness of the lives of the generations. Comment by Natalia Apffel: Yo describí esta técnica como una 'revelación' que cambia la perspectiva de los lectores, pero este es un efecto muy importante también. Esta información nueva cambia el personaje también, sus motivaciones y actitudes son aclarados o un elemento traumático de su pasado es mostrado. La información afecta a los lectores y los personajes, es muy interesante y una idea creativa de la autora.

In the 1-6 chapters of "Of Women and Salt" by Gabriela García, two characters that are remarkable are María Isabel and Carmen. María Isabel is portrayed as a girl who is employed in a cigar factory and who is fascinated by the novels that the lector reads to her; thus, she is a person who is eager to acquire new knowledge and who is a person who is in search of an escape from a very difficult reality. Her perseverance and the desire for a different life are clearly visible when she deals with the difficulties of her work environment and her family duties. On the contrary, Carmen is depicted as a very precise hostess, trying to keep a calm face while handling family problems and personal issues. Her controlling nature towards her daughter, Jeanette, and her confrontational approach towards Mario show that she is a strong-willed and assertive person. Both characters have layers and depth; that is, María Isabel's desire for a better future and Carmen's inner conflict are added to their personalities. Although María Isabel's goals and Carmen's caregiving trait make them likable, their difficulties and vulnerabilities also stir the readers' sympathy, thus, they are presented as multidimensional characters.

La historia es fracturada, la cronología del narrativo salta de una época a otra en cada capítulo. El primer capítulo ocurre durante el siglo XIX, mientras el próximo capítulo tiene lugar en el año 2014. La orden de las historias de cada personaje principal no es lineal, información que es muy pertinente a un capítulo es, a veces, revelada en un capítulo diferente. Por ejemplo, capítulo 4 presenta información significativa sobre los problemas de Jeanette y su uso de drogas, pero la primera aparición de Jeanette es en capítulo 2. La revelación ‘tarde’ de información pertinente es una técnica muy interesante y opino que mejora la historia. Provoca otro análisis de unos personajes o una situación y, a veces, un cambio en perspectiva. Los cambios de perspectivas/generaciones es un poco raro y puede interrumpir el ‘flujo’ del narrativo, pero también es un poco divertido e inspira a los lectores pensar en lo que viene. Aprecio la función de este estilo de narración.

[CRJ]7

Módulo 1

Of Women and Salt

(Chapters 1-6)

Gabriela García

DUE: 5-17

10:00 PM

Something that got my attention was how poorly they handle the situation of migration. It’s a very sad reality that many mothers and children are separated which causes severe trauma on both sides. It also must be traumatic how they are kept in detention with such little information about their future. For example, the way that they disregard Gloria’s questions of where she will go or end up or how long she will stay detained for. Comment by Natalia Apffel: ¡Estoy de acuerdo! En particular, el rechazo de la solicitud de Gloria para una explicación del documento o el documento en español fue un elemento muy frustrante y triste. Es una práctica intolerable que todavía ocurre hoy en día.

In the 1-6 chapters of "Of Women and Salt" by Gabriela García, two characters that are remarkable are María Isabel and Carmen. María Isabel is portrayed as a girl who is employed in a cigar factory and who is fascinated by the novels that the lector reads to her; thus, she is a person who is eager to acquire new knowledge and who is a person who is in search of an escape from a very difficult reality. Her perseverance and the desire for a different life are clearly visible when she deals with the difficulties of her work environment and her family duties. On the contrary, Carmen is depicted as a very precise hostess, trying to keep a calm face while handling family problems and personal issues. Her controlling nature towards her daughter, Jeanette, and her confrontational approach towards Mario show that she is a strong-willed and assertive person. Both characters have layers and depth; that is, María Isabel's desire for a better future and Carmen's inner conflict are added to their personalities. Although María Isabel's goals and Carmen's caregiving trait make them likable, their difficulties and vulnerabilities also stir the readers' sympathy, thus, they are presented as multidimensional characters.

La repetición de la frase ‘we are force’ en el primer capítulo es algo que parece notable (Garcia, p.24). Más de un eslogan político, esta frase es pertinente a varios temas en el libro: sobrevivencia, mujeres, literatura, etc. Opino que la frase va a ser la ‘consigna’ de la familia, algo que describe y personifica a esta familia entera. La frase aparece unas veces (creo que existen cuatro usos) en el capítulo uno, pero es muy probable que va a aparecer más tarde en el libro. Sin embargo, la frase es, al menos, muy importante en el primer capítulo y en la vida de María Isabel. Es una frase que tiene interpretaciones diferentes y varios usos válidos, no debemos subestimar el eslogan y sus varias repeticiones. Es evidente que la frase tiene mucho valor en esta historia.

YouTube. (2021, April 7). Gabriela Garcia: Of women and salt - author interview. YouTube. https://www.youtube.com/watch?v=ikz9EjESdY0

In the 1-6 chapters of "Of Women and Salt" by Gabriela García, two characters that are remarkable are María Isabel and Carmen. María Isabel is portrayed as a girl who is employed in a cigar factory and who is fascinated by the novels that the lector reads to her; thus, she is a person who is eager to acquire new knowledge and who is a person who is in search of an escape from a very difficult reality. Her perseverance and the desire for a different life are clearly visible when she deals with the difficulties of her work environment and her family duties. On the contrary, Carmen is depicted as a very precise hostess, trying to keep a calm face while handling family problems and personal issues. Her controlling nature towards her daughter, Jeanette, and her confrontational approach towards Mario show that she is a strong-willed and assertive person. Both characters have layers and depth; that is, María Isabel's desire for a better future and Carmen's inner conflict are added to their personalities. Although María Isabel's goals and Carmen's caregiving trait make them likable, their difficulties and vulnerabilities also stir the readers' sympathy, thus, they are presented as multidimensional characters. Comment by Feiyu Pang: In the first six chapters of Gabriela Garcia's Women and Salt, Maria Isabel and Carmen are two compelling characters, each with unique qualities and complexity. Maria Isabel, who works in a cigar factory, is captivated by the novel read by the lecturer, which shows her thirst for knowledge and her desire to escape the harsh reality.

LOC Collection, and Ed Elizondo. Mambi Soldiers. 24 Mar. 2008. History of the Cuban Liberation Wars, http://www.cubagenweb.org/mil/mambi/photos/images/mambi-5_edited-1.jpg . Accessed 18 May 2024.

Una imagen de los soldados Mambises que luchaba contra España.

MÓDULO 2

Mexican-American Chicanx Voices

[CRJ]8

Módulo 2

Infinite Divisions Introduction

(PDF)

Eds. Tey Diana Rebolledo, Eliana S. Rivero

DUE: 5-24

10:00 PM

The structure is organized in a way that gives a chronological narrative of the Mexican experience within the United States. It first provides an overview of the historical circumstances that surrounded Mexican Americans and how this impacted and influenced the Chican@ identity and consequently Chican@ literature. This history starts from the very beginning of the Mexican experience starting even before the formation of the United States to the contemporary experience of modern society.

The introduction to Infinite Divisions: An Anthology of Chicana Literature is organized in a way that facilitates the tracking of the historical progression of Chicana literature and its themes. It provides an overview of the social and political aspects that have shaped the Chicana identity and writing. This is followed by a discussion of major issues and concerns in the works selected for the anthology such as identity, cultural memory and the re-writing of history. It also draws attention to the role of individual authors and the range of the genres in the presented anthology. These sections are not only helpful in providing the reader with the historical and cultural background of Chicana literature but also in preparing the reader for the kind of texts they are about to encounter. Therefore, the goal of the introduction is to provide the reader with a concise yet comprehensive idea of what they are about to read. Comment by Natalia Apffel: Ohhhh, tienes sentido. Yo estuve un poco confundida con esta sección sobre los géneros diferentes. La historia de las chicanas fue sencillo y provee información sobre su ideología y su valor de interseccionalidad, pero no entendí la importancia de los diferentes tipos de textos. Olvidé que es una introducción para una antología y no es un articulo sobre la historia de literatura chicana solamente… ¡Ups, jajaja!

La introducción comienza con una historia general de México desde el periodo colonial hasta la época contemporánea. Enfoca en la historia del país de México y las influencias de España y los Estados Unidos, pero enfatiza las perspectivas de las mujeres y la falta de fuentes que presentan las perspectivas de las mujeres. Para el fin de la introducción, el autor hace una conexión entre las perspectivas femeninas en literatura antigua con literatura chicana. La última sección habla sobre el movimiento y la literatura chicana, su ideología, creencias y temas comunes en sus obras (racismo, sexismo/misoginia, sexualidad y otros temas tabúes y personales). Es un desarrollo lógico y cronológico, la transición a literatura chicana y contemporánea del periodo colonial tiene sentido. También, este desarrollo aclara la importancia de los temas significativos en literatura chicana, la represión de la voz femenina durante casi toda la historia mexicana es el origen de esos temas. El objetivo de las chicanas es crear (o consolidar) su propia consciencia, pero también ellas intentan a representar y honrar las mujeres del pasado que eran silenciadas y censuradas.

The main idea is how the Mexican identity has formed and what historical circumstances shaped it within the United States and how this was reflected in the literature which was pioneered by the voices of many Mexican-American women.

The main idea that can be drawn from the introduction is the significance of Chicana literature in representing the lives and voices of Mexican American women and the role they play in shaping American culture and literature. The introduction highlights how these writings restore history and give a voice to a silenced population.

La idea principal de esta lectura es que el movimiento literario de las chicanas es una respuesta a su ambiente opresivo y una reacción a las condiciones impuestas sobre las mujeres del pasado; es una reacción a la tradición de misoginia y racismo. El objetivo principal es crear su propio puesto en el mundo y crecer orgullo y amor por su propia identidad, un objetivo auxiliar es ofrece la misma oportunidad (y herramientas) a otras mujeres: socias chicanas, otras mujeres de etnicidades diferentes y las mujeres del pasado; todo crea una conciencia atrasada. Comment by Aharon Arvizu Ramirez: ¡Estupendo!

[CRJ]8

Módulo 2

Self and Identity

Infinite Divisions

(pp.75-97)

DUE: 5-24

10:00 PM

Self determination is a key theme in this collection. This is expressed in the excerpts, “By taking away our self-determination, it has made us weak and empty…we have never been allowed to be ourselves” (81). Anglo culture has been stripping them away of their culture and distorting the Mexican identity, history, and narrative. In another way, Mexican Americans feel their self-determination is being stripped by forces and pressures of their own culture which forces them to abide by cultural standards and customs rather than their own self determination.

Identity crisis is one of the major themes that run through the collection. This theme is evident in Chicana writing as it addresses the conflict between Mexican roots and American assimilation, gender issues, and the combination of these factors. For instance, in the “Self and Identity” section, Miriam Bornstein’s “Taking of Name” expounds on the importance of names in the formation and interpretation of identity. Through the concept of naming, the piece, therefore, raises issues of culture and individual identity, especially when it comes to issues of assimilation. In her writing, Bornstein highlights that names are first gifts given by elders but taken away in the process of assimilation, which shows the fight against cultural erasure. Comment by Cameron Alcocer-Burdett: I agree that this is a very prevalent theme in this collection. I think the Chincan@ identity is so interesting because it battles criticism and barriers from Americans and Mexicans. Assimilation restricts their sense of identity but they are still viewed as separate from Americans, but at the same time they feel alienated from Mexicans from Mexico. Comment by Aharon Arvizu Ramirez: Support your response with textual references and examples.

Un tema que aparece en muchos de los poemas es la identidad chicana y su propia existencia o, a veces, la falta de su propia existencia. ‘Legal Alien’, un poema de Pat Mora, demuestra este conflicto existencial, existen dos percepciones de ella y ambas son incorrectas o incompletas. Ella no puede sostener o presentar su persona actual o su identidad real porque ya existen ideas o interpretaciones de ella y, en particular, lo que ella debe ser. La palabra ‘deber’ es clave, las expectativas impuestas pueden definir y dirigir la vida de una persona. Las poetas chicanas comprenden este hecho y muchas han vivido según esas expectaciones, pero el objetivo de esta comunidad es rechazar las imposiciones y encontrarse su propia ‘ser’. El poema es un resumen de la experiencia típica para las chicanas, ellas están atrapadas y ‘tienen que’ decidir cuál es su etiqueta o identidad con el conocimiento que nunca van a pertenecer exactamente con su etiqueta elegida. Muestra el conflicto que muchas chicanas enfrentan antes de identificarse como una chicana, una identidad nueva que ellas han creado para aliviar esta falta de pertenencia y aceptación. Comment by Aharon Arvizu Ramirez: Support your response with textual references and examples.

The poem “Chicano Studies” by Rocha, I felt was very connected to “The Poet X” in the way they both speak of the experiences of women and the negative expectations they have to deal with. They both speak of the intense level of conformity that women need to go to conform to societal pressures and cultural customs. I also feel the poem, “La Loca de la Raza Cósmica” by La Chrisx also is very connected to the Poet X in the way you can feel the narrator's sense of overwhelment with battling labels and expectations. They feel, in the face of so many labels and expectations, their sense of identity and self-determination are being lost. It mentions the external forces such as her husband controlling her life, marianismo being forced onto her, and struggles as a mother.

The works of Chicana poetry and prose in this section are connected to prior readings in the course concerning identity and culture. For example, like Gloria Anzaldúa’s Borderlands/La Frontera, the works in “Self and Identity” engage with the notion of the border as the physical and metaphorical dividing line of identity. In the “Taking of Name,” Bornstein’s focus on names and their meaning is similar to Anzaldúa’s ideas on mestiza consciousness and the difficulties of living in two worlds. In both works, the individual and the community’s fight to preserve its cultural identity as it assimilates into a larger society is explored. Comment by Natalia Apffel: Me gusta tu análisis y tu conexión a las fronteras físicas y metafóricas. Creo que la conexión más fácil y 'básico' es el tema común de silencio o represión, Anzaldúa usa la palabra 'silent' muchas veces y las introducciones también menciona la censura o silencia impuesta sobre las mujeres. Opino que tu conexión es más profunda y demuestra su conocimiento de las lecturas. ¡Muy bien trabajo! Comment by Aharon Arvizu Ramirez: ¡Excelente comentario! Lamento que tus compañerxs no interactuaran contigo en esta ocasión.

Esta fuente afirma muchas de las observaciones y declaraciones hechas en los otros textos con protagonistas femeninas. Temas de misoginia, racismo, violencia y represión aparecen en esta colección de poemas, en The Poet X y en Of Women and Salt. En particular, el poema de La Chrisx, ‘La Loca de la Raza Cósmica’, funciona como un resumen de todo lo que los personajes femeninos (o mejor, las autoras) discuten o concluyen en sus historias. Ese poema es una colección y reconocimiento de la diversidad dentro de la comunidad chicana. Presentan perspectivas y experiencias diferentes que a veces son contradictorias. La Chrisx da atención a la variedad de identidades y experiencias chicanas, pero enfatiza ciertos temas comunes, en particular represión y abuso. Entonces, ciertos versos consolida las experiencias de Xiomara como una chica maltratada y sexualizada, una muchacha que tiene una relación incómoda con religión, sexo y su familia por sus dobles estándares (i.e. el pasado de su padre como un mujeriego). Otros versos reconocen las dificultades de Carmen y Jeanette especialmente. Habla sobre hombres que son abusadores (en el contexto físico y psicológico), el uso de drogas, la implicación de adicciones a esas drogas, familias injustas o disfuncionales y, otra vez, el tema general de represión. Sin embargo, este poema rechaza esa represión y es evidente que el poema apoya la creación de su propia identidad sin las influencias de otros. La variedad de perspectivas refleja las identidades diferentes dentro la comunidad chicana y la comunidad latina en general. Comment by Cameron Alcocer-Burdett: Estoy de acuerdo en que, aunque las mujeres latinoamericanas tienen sus propias experiencias únicas, están unidas por un patrón común de discriminación y abuso. Esto se refleja en las experiencias de Xiomara y también en el hablante poético en este poema.

I like the piece “By Your True Faces We Will Know You” because it speaks of a common latino experience. Although we should recognize that in Latin America and across Latin Americans there exists several different cultures, customs, and traditions, at the same time I believe exists a unifying Latino identity. I like how the work calls for Latinos to come together to fight against the extinction of their cultures and identities in the face of Anglo pressures. They are bonded together by a “history of resistance” (81).

Among all the pieces, I found Miriam Bornstein's "Taking of Name" interesting because it focuses on the role of names in the construction of the self. In his essay, Bornstein explores the significance of names for the self and culture, explaining that names bear the burden of tradition, genealogy, and personality. This was relatable to me because it captures the very private journey of regaining one's name and consequently, one’s self. It is a personal yet global story since it resonates with the struggles of people in between cultures.

Dos poemas que personifican el movimiento de las chicanas son ‘The Gift?’ y ‘Women Are Not Roses’. Ambos demuestran las dos experiencias principales de las chicanas, un rechazo penoso y la cultivación de su propio orgullo y resiliencia o fuerza como una reacción a su maltratamiento y abuso. ‘The Gift?’, escrito por Sylvia S. Lizarraga, enfatiza el aislamiento y ejemplifica el rechazo general que sufren las chicanas. Enfoca en la falta de reconocimiento y, a veces, la negligencia social que ellas enfrentan en su comunidad. ‘Women Are Not Roses’ de Ana Castillo’ también menciona este rechazo social, pero insinúa que existe una solución o refugio. Ella escribe específicamente sobre belleza y percepción de mexicanas y chicanas (realmente cualquier mujer que no logra los estándares de belleza) y empieza a ridiculizar estos estándares. Sin embargo, la autora escribe un verso muy significativo que tiene varias interpretaciones, ella quiere contar a alguien que estos estándares no tienen ningún valor, ‘but I think she already knows’. ¿Quién es ‘ella’ en este contexto? Puede referir a muchas personas, otras chicanas, otras mujeres en general, una persona que la autora conoce o la autora sí misma. Ofrece una esperanza ambigua e implica que otras entienden (y van a aceptar pronto) que las mujeres no tienen que obedecer las normas sociales o las expectativas sobre belleza. Comment by Aharon Arvizu Ramirez: recuerda usar las referencias adecuadas

“El Movimiento: The Chicano Movement and Hispanic Identity in the United States.” National Archives and Records Administration, National Archives and Records Administration, prologue.blogs.archives.gov/2021/09/23/el-movimiento-the-chicano-movement-and-hispanic-identity-in-the-united-states/#:~:text=The%20Hispanic%20community%20embarked%20on,everywhere%20in%20the%20United%20States. Accessed 26 May 2024.

This article talks about the Chicano movement that occurred within the United States including information about their identity and their battle for labor and political rights.

Yolanda López’s “Our Lady of Guadalupe” Retrieved From: https://joannagarciasite.wordpress.com/2016/11/27/radical-love-yolanda-lopez-reimagining-la-virgen-de-guadalupe/ . (Accessed on 23rd May, 2024)

It relates to the ideas of power and self-definition in the piece, Infinite Divisions. The painting takes a venerated religious figure and turns her into a representation of the Chicana woman’s strength and endurance in the modern world, similar to the literary works that retell historical and cultural stories to empower and investigate Chicana identity. In doing so, it underlines the need to regain and reinterpret one’s cultural signifiers and stories, which echoes the motifs of identity search and cultural revival explored in the anthology.

Walsh, Nick, and Daniel Dreifuss. “Campesinos” by Armando Vallejo . 4 Feb. 2021. Santa Barbara Independent, Santa Barbara Independent, Inc, https://www.independent.com/wp-content/uploads/2021/02/Campesinos-by-Armando-Vallejo.jpg?w=2048 . Accessed 24 May 2024.

¡Este es un mural en Ortega Park en Santa Barbara! Es una obra en la colección de 18 murales y muchas presentan temas significativos en la historia mexicana, chicana (o ‘xicana’), de California y/o de este barrio en Santa Barbara. Recibió mucha atención en los años recientes porque el concejo municipal (creo que fue el departamento de Parques y Recreación en particular) quería renovar Ortega Park. En su propuesta inicial, ellos intentan destruir todos los murales sin el aporte o las contribuciones de su comunidad. No puedo recordar el resultado final, pero yo escribí una carta que denuncia este plan; fue tarea en una de mis clases anteriores. De hecho, creo que mi profe envío unas de las cartas de sus estudiantes (incluso mía!!!) al hombre que dirigió el movimiento de preservar los murales.

[CRJ]9

Módulo 2

“ Never Marry a Mexican ” (BF pp.171-187)

Sandra Cisneros

DUE: 5-28

10:00 PM

Clemencia is the main character of the story and narrates her experiences with having a Mexican father and Mexican-American mother and also her own experiences with dating. Due to her mother’s experiences she has committed to never marrying a Mexican as instructed by her mother. However, all together she has given up on marriage as men have never loved her as she has loved them. This has caused her to become very emotionally unstable which causes her to do inappropriate things. She has a deep sense of disbelonging not only between her two cultures but also classes as she states “I don’t belong to any class” (175). She feels no group of people truly accept her even though they let her stay around. I think her character is too emotionally unavailable towards herself which causes her to be emotionally unavailable toward other people which is why I would say she isn’t a sympathetic character as the world hasn’t been sympathetic to her.

Clemencia is the protagonist of the story “Never Marry a Mexican” written by Sandra Cisneros; she is a complex character who tries to cope with the results of her culture and her mother’s advice. The background information is crucial in elucidating the character of Clemencia. She is a Mexican-American woman who is confused about her place in society and her identity. Her mother who advised her to never marry a Mexican man, made her feel culturally out of place. This advice is based on her mother's discontent with her life and marriage and it is something that Clemencia internalizes and responds to all the time in the story.

Clemencia's behavior and personality are rebellious and dissatisfied. She has an affair with a married man, Drew and later with his son, which shows her attitude towards love and marriage. Her work as an artist and, at times, a translator or a substitute teacher reveals her artistic side but also reveals her problems with money and society. Clemencia is in a constant state of marginality, never really being a part of the lower class, the upper class or any cultural group.

Emotionally, Clemencia is portrayed as a very reflective character who, however, is not exempt from emotional instability. They reflect her loneliness and her need for companionship and intimacy she cannot find. Even though Clemencia is rebellious and assertive, she has a weak side that makes the reader feel compassion towards her. She is believable in her search for identity, acceptance, and purpose in life, and she wins the reader's sympathy with her confidence and her inner conflicts. Comment by Aharon Arvizu Ramirez: Support your response with textual evidence.

El padre de Clemencia no es un personaje principal, él solo aparece en la primera parte de la historia, pero tiene un impacto enorme en la trama y sobre los varios personajes, la protagonista (Clemencia) y su madre en particular. Él fue un inmigrante que no pudo hablar inglés. Empezó su vida en los Estados Unidos como obrero, pero él proviene de una familia de clase media en la Ciudad de México. Es descrito como un hombre muy orgulloso y un ‘fanfarrón’, pero demasiado concentrado en las mujeres y divertido más que sus estudios. (Cisneros p. 173). Él se vestía con trajes caros y tenía unos pañuelos. Le importó mucho su apariencia y la calidad de su ropa; estaba familiarizado con un modo de vida que enfatiza más refinado o ‘digno’. (Cisneros p. 174). Al fin de su vida, estuvo muy enfermo y su salud se deterioró mucho. Su hija describe como un hombre viejo y muy débil, con una lengua hinchada y muchos tubos conectados a su cuerpo. El olor de muerte y enfermedad permea su cuarto. (Cisneros p. 177). Opino que no es un personaje cercano, a pesar de su irresponsabilidad y negligencia, él es un hombre que ha casado una muchacha menor y es impelido que es un esposo infiel. (Cisneros p. 176 & 171). Parece que la mayoría de sus problemas son resultados de su inmadurez y decisiones malas y tontas. El único momento cuando los lectores pueden compadecerse es al fin de su vida, donde él murió por una enfermedad grave y triste. Sin embargo, este momento es lamentable principalmente por la reacción de su hija y sus súplicas por la vida y salud de su papá. Es decir, Clemencia convierte a su padre en un personaje cercano. Comment by Natalia Apffel: Escribí que los impactos de su padre son enormes porque su comportamiento ha afectado mucho a su esposa. El título está inspirado por una frase que la madre de Clemencia ha dicho varias veces: ‘Never Marry a Mexican’. Esa frase afectó a Clemencia mucho y es el origen de sus problemas románticos y su incapacidad de formar relaciones. En vez de un mexicano, ella mantiene que nunca va a casar a nadie (Cisneros p. 172). Todo proviene de las acciones de su padre a pesar de su papel menor en el texto.

The quote where Clemncia say’s “I can’t ever get the sayings right even though I was born in this country” caught my attention because it shows the multidimensionality of her identity (176). It shows that she is clearly American because she was born here but also she is different because, as she adds, “We didn’t say shit like that in our house” (176). It reveals the geopolitics of the life of an immigrant as just because their house is in the U.S, the culture inside it can be different. I would say a course reading this quote applies to is “How to tame a Wild Tongue” as they both deal with the fractured sense of identity and struggles of bilingualism. They both portray the experience of a Mexican-American and highlight the perceived differences between a Mexican from “the other side” and a Mexican American. Additionally, I think this quote is connected to the readings of “Down these Mean Streets” which also deals with the theme of bilingualism and split identity. They all convey the theme that a sense of identity and belonging can be lost in the search of trying to claim and search for it.

The quote where Clemencia says, “I'm amphibious. I'm a person who doesn't belong to any class. The rich like to have me around because they envy my creativity; they know they can't buy that. The poor don't mind if I live in their neighborhood because they know I'm poor like they are, even if my education and the way I dress keeps us worlds apart. I don't belong to any class. Not to the poor, whose neighborhood I share. Not to the rich who come to my exhibitions. Not to the middle class from which my sister Ximena and I fled” is important as it captures the essence of Clemencia’s isolation and her conflict with the class system (Cisneros 174). Comment by Cameron Alcocer-Burdett: I think this quote is really important because it shows not only does she lack a sense of belonging through her culture but also through her class. She feels she has no group or space where she belongs which is really important in understanding her thoughts and how she behaves. She is completely isolated.

This quote is very significant in the novel because it reveals Clemencia's struggle and her view of herself in society. Despite being educated and a successful artist, Clemencia does not find herself belonging to the high society that appreciates her art or in the working class neighborhood she lives in. Her decision to describe herself as "amphibious" attests to her capacity to maneuver through different social contexts yet also underlines her inability to fully belong to any of them. This theme of class and cultural identity can be linked to other themes in literature that touch on issues of immigration and the struggle for identification within a pluralistic society. It reflects the themes of isolation and self-identity in the novel "Down These Mean Streets" by Piri Thomas. Clemencia's education and the things she has accomplished in art make her belong to neither the rich nor the poor but the middle class, and hence, she feels lonely, though she can move up and down between the two classes. Likewise, Piri, who was raised in Spanish Harlem, suffers the consequences of his mixed Puerto Rican and Cuban ethnicity, becoming an outcast from both white America and his own people. This common struggle reveals the characters' constant fight for personal and social acceptance and the role of identity in the context of rejection. Clemencia’s statement also has an element of boastfulness that conceals her true feelings of loneliness and incompetence. Her assertion of being amphibious is a mask for her weakness and her inability to belong to a single social or cultural sphere. This relates to the overall theme of the course, namely, identity and belonging, as it shows how people struggle with internal issues and external circumstances in a social context.

‘Why is it worse at night, when I have such an urge to communicate and no language with which to form the words?’ (Cisneros p. 186). Esta cita trata los temas de lenguaje/bilingüismo y pertenencia en nuestro curso. Claro, este uso del término lenguaje es metafórico, es evidente que ella puede hablar en inglés y español porque ella puede leer ambas lenguas en los anuncios de varias tiendas (Cisneros p. 175). Ella describe su aislamiento y su incapacidad de identificar y expresar sus propios sentimientos. Está en una situación miserable, ella es regida por sus emociones y desea relaciones profundas con otras personas, pero también no puede confiar en otros. Su frustración es aplastante y un producto de su conflicto interno; la paradoja de sus deseos y creencias ha creado su agitación. Este conflicto es personificado con una cita que aparece en el inicio de la historia, ‘So, no. I’ve never married and never will. Not because I couldn’t, but because I’m too romantic for marriage. […] It’s because I believe too much in marriage that I don’t.’ (Cisneros p. 172). La falta de lenguaje es, realmente, una falta de comunicación y conexión, que son los efectos y objetivos principales del lenguaje. Puede entender o interpretar la falta de conexión como una falta de pertenencia, ella no tiene una comunidad o sistema de apoyo, no puede depender de nadie. Aunque exista una persona confiable en su vida, ella no tiene la habilidad de expresar o comunicar sus pensamientos, sentimientos e ideas en general. Yo vinculo los temas de lenguaje y pertenencia con esta lectura porque la historia está basada en las funciones y metas de ambas ideas. Es decir, no es una discusión del uso de un dialecto en particular, sino el propósito del uso de lenguaje (comunicar y conectar). Igualmente, el libro no habla sobre pertenencia en una comunidad específica, pero trata los efectos de la falta de pertenencia con las experiencias dolorosas de Clemencia. Creo que esta es una interpretación abstracta de los temas, pero todavía enfatiza el significado de cada término. Comment by Cameron Alcocer-Burdett: Estoy de acuerdo que esta cita es muy importante porque el lenguaje es muy importante en la identidad. Entonces, su lucha con bilinguismo muestra y refleja su lucha con identidad y pertenencia. Creo que esta cita es muy conectada a "How to Tame a Wild Tongue" porque los dos tienen que ver con el lenguaje dividido y sentido de pertenencia Comment by Natalia Apffel: Puedo vincular esta cita con las lecturas asignadas también. Creo que varias obras en la colección de poemas chicanos, Infinite Divisions, son pertinentes. En particular, el poema de Sylvia S. Lizarraga, ‘The Gift?’, refleja la falta de conexiones profundas con otras personas y una incapacidad de comunicar con otros. En ‘The Gift?’, la voz poética culpa a su superpoder de invisibilidad y cuestiona el valor de su ‘regalo’ (Rebolledo p. 91). Clemencia culpa sus ideales románticos y la naturaleza de los hombres en general por su decisión de evitar matrimonio a pesar de sus deseos de casarse con alguien (Cisneros p. 172). En la cita, la protagonista lamenta su falta de lenguaje (que significa habilidad de comunicarse), esta refleja la tristeza de Lizarraga y su invisibilidad (también refiere a su habilidad de comunicarse). Ellas sufren el mismo problema y expresa este conflicto con 'símbolos' diferentes: un superpoder y un lenguaje.

MÓDULO 3

U.S Central American and South American Voices

[CRJ]10

Módulo 3

The Tattooed Soldier

(Part I pp.3-82)

Héctor Tobar

DUE: 6-4

10:00 PM