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

[CRJ]1

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

[CRJ]3

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.

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.

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.

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).

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 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 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

[CRJ]6

Módulo 1

The Poet X

(Parts I, II & III)

Elizabeth Acevedo

DUE: 5-7

10:00 PM

[CRJ]7

Módulo 1

Of Women and Salt

(Chapters 1-6)

Gabriela García

DUE: 5-17

10:00 PM

[CRJ]7

Módulo 1

Of Women and Salt

(Chapters 1-6)

Gabriela García

DUE: 5-17

10:00 PM

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

[CRJ]8

Módulo 2

Self and Identity

Infinite Divisions

(pp.75-97)

DUE: 5-24

10:00 PM

[CRJ]9

Módulo 2

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

Sandra Cisneros

DUE: 5-28

10:00 PM

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