Ebook Free Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color

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Ebook Free Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color

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About the Author

Gloria Anzaldúa was a Chicana-tejana-lesbian-feminist poet, theorist, and fiction writer from south Texas. She was the editor of the critical anthology MAKING FACE, MAKING SOUL/HACIENDO CARAS: CREATIVE AND CRITICAL PERSPECTIVES BY FEMINISTS OF COLOR (Aunt Lute Books, 1990), co-editor of This Bridge Called My Back: Writings by Radical Women of Color, and winner of the Before Columbus Foundation American Book Award. She taught creative writing, Chicano studies, and feminist studies at University of Texas, San Francisco State University, Vermont College of Norwich University, and University of California Santa Cruz. Anzaldúa passed away in 2004 and was honored around the world for shedding visionary light on the Chicana experience by receiving the National Association for Chicano Studies Scholar Award in 2005. Gloria was also posthumously awarded her doctoral degree in literature from the University of California, Santa Cruz. A number of scholarships and book awards, including the Anzaldúa Scholar Activist Award and the Gloria E. Anzaldúa Award for Independent Scholars, are awarded in her name every year.

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Product details

Paperback: 448 pages

Publisher: Aunt Lute Books; 1st edition (1990)

Language: English

ISBN-10: 1879960109

ISBN-13: 978-1879960107

Product Dimensions:

6 x 1.2 x 9 inches

Shipping Weight: 1.5 pounds (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

6 customer reviews

Amazon Best Sellers Rank:

#156,545 in Books (See Top 100 in Books)

This was a groundbreaking work in its day and continues to be one of the top anthologies for women of color. Brilliant editing and preface by Gloria Anzuldua. A must read for both men and women!

It is exactly what I was expecting for.

Gloria Anzaldúa (1942-2004) also wrote/edited This Bridge Called My Back: Writings by Radical Women of Color,This Bridge We Call Home: Radical Visions for Transformation,Borderlands/La Frontera,Interviews/Entrevistas,The Gloria Anzaldúa Reader, etc.She wrote in the Introduction to this 1990 book, “In this anthology and in our daily lives, we women of color strip off the mascaras others have imposed on us… so that we may become subjects in our own discourses… This book aims to make accessible to others our struggle with all our identities, our linkage-making strategies and our healing of broken limbs… For years I waited for someone to compile a book that would continue where ‘This Bridge Called My Back’ left off… A book that would deepen the dialogue between all women and that would take on the various issues… in alliance-building. A book that would explode the neat boundaries of the half dozen categories of marginality that define us and one that would unflinchingly bring us [face to face] with our own historias. A book that would bear unmistakable witness…“I got tired… of being a resource for teachers and students who asked me what texts by women of color they should read or teach and where they could get these writings… Then, in the spring of 1988, when I came… to teach for U.C. Santa Cruz’s Women’s Studies, I realized there were no recent anthologies of women-of-color writings. I stopped waiting… I worked around the clock frantically locating, reading, copying, compiling and organizing material for a class reader…” (Pg. xvi-xvii) She continues, “This anthology is meant to engage the reader’s total person… It attempts to explore our realities and identities… and to unbuild and rebuild them… these pieces attest to the fact that more and more we are concentrating on our own projects, our own agendas, our own theories.” (Pg. xviii)Some of the writings included are Barbara Smith’s ‘Racism and Women’s Studies’; ‘Inclusion Without Influence: The Continuing Tokenism of Women of Color’ by Lynet Uttal; Bernice Zamora’s ‘Notes from a Chicano “Coed”’; June Jordan’s ‘Where is the Love?’; ‘Talking Back’ by bell hooks; Michelle Cliff’s ‘Object Into Subject: Some Thoughts On the Work of Black Women Artists’; ‘Developing Unity Among Women of Color’ by Virginia Harris and Trinity Ordoña; Audre Lorde’s ‘I Am Your Sister: Black Women Organizing Across Sexualities’; ‘La conciencia de la mestiza: Towards a New Consciousness’ by Gloria Anzaldúa, and much more.To give you a brief idea of the riches contained in this collection, here are a few quotes: “the previous … women’s movement had attempted to create an empowered sisterhood through erasing our differences as women of color under the ‘unifying’ category of ‘women’ … in opposition to the category ‘men.’ The privileging of this binary opposition, however, made invisible important differences within each of these categories. Thus racism was unthinkingly perpetuated in the name of liberation. The ‘common ground’ …. was constructed so that it forced a false unity of women, a unity which worked to erase and thus oppress the lives of many women. To demand the recognition of differences from the inside of this unity signified disloyalty…” (Pg. 65) [Chela Sandoval]“I see so many of us on the streets today… We’re part of a very unique, late 1960s biracial baby boom and now we’re coming out, coming into our own, finding our way through this relatively new thing called adulthood… Other Blacks nod and greet us with a ‘How you doin today’ or they don’t. Only to explain later in whispering, secretive tones, ‘I really wasn’t sure when I first saw you…’ And when we openly identify African American… we’re told to forget it. That we’re not REALLY Black, not authentic, down-home … sistas…” (Pg. 91) [Kristal Brent Zook]“We [women of color] have memories like elephants. The slightest hurt is recorded deep within. We do not forget the injury done to us and we do not forget the injury we have done another. For unfortunately we do not have hides like elephants. Our vulnerability is measured by our capacity for openness, intimacy. And we all know that our own kind is driven through shame or self-hatred to poke at all our open wounds. And we know they know exactly where the hidden wounds are.” (Pg. 142) [Gloria Anzaldúa]“I was a junkie… This act is clearly the embodiment of self-hatred. Hatred which goes back a long time… Yet it is our collective wills which have created the need for killer drugs. Violent responses in any form they take are accomplices to the wills which have created the need. The availability of drugs is not the problem or the dealer down on 122nd street. They are only players in a far more complex value system of worth which nurtures self-hatred. Self-hatred which is directing and encouraging people to believe suicide is an option---as is alcohol or drug addiction or the reckless homicide on the highways.” (Pg. 171-172) [Aletcia Tijerina]“Recently, efforts by black women writers to call attention to our work serve to highlight both our presence and absence. Whenever I peruse women’s bookstores, I am struck not by the rapidly growing body of feminist writing by black women, but by the paucity of published material. Those of us who write and are published remain few in number. The context of silence is varied and multi-dimensional. Most obvious are the ways racism sexism, and class exploitation act suppress and silence. Less obvious are the inner struggles, the efforts made to gain the necessary confidence to write, to re-write, to fully develop craft and skill—and the extent to which such efforts fail.” (Pg. 210) [bell hooks]“For many of us, the question of priorities remains a crucial issue… Imputing race or sex to the creative act has long been a means by which the literary establishment cheapens and discredits the achievements of non-mainstream women writers… Yet the time has passed when she can confidently identify herself with a profession or artistic vocation without questioning and relating it to her color-woman condition. Today, the growing ethnic-feminist consciousness has made it increasingly difficult for her to turn a blind eye… to writing itself as a practice located at the intersection of subject and history… no matter what position she decides to take, she will sooner or later find herself driven into situations where she is made to feel she must choose from among three conflicting identities. Writer of color? Woman writer? Or woman of color? Which comes first? Where does she place her loyalties?” (Pg. 245) [Trinh T. Minh-ha]“Unity is not automatically bequeathed to people of color. Racism translates the differences among us into RELATIVELY preferential treatment for some at the expense of others, promoting internalized racism and cross-cultural hostility. Disunity among people of color due to the exploitation of differences is an inherent part of the system of racism. The POTENTIAL for unity is there and the POWER is tremendous---witness the recent Civil Rights Movement. For unity to develop and continue to exist, the distrust and discord ever-present among us must be replaced.” (Pg. 314) [‘In Alliance, In Solidarity’]“Chicana literary discourse, like most feminist discourse, is a troubled one. It is always searching, questioning and fraught with tensions and contradictions, just as is the creative writing arising from the same creative context. A truly Chicana literary theory would result from the attempt to resolve these things, to mend the rift between doers and thinkers. I think we would all agree that Chicana criticism and theory are still in a state of flux looking for a theoretical, critical framework that is our own, whatever the perspective… Perhaps from a more open perspective our own theoretical critical analysis will arise, rather than finding the theory first and imposing it upon the literature.” (Pg. 350) [Tey Diana Rebolledo]“The new mestiza copes by developing a tolerance for contradictions, a tolerance for ambiguity… She learns to juggle cultures. She has a plural personality, she operates in a pluralistic mode--- nothing is thrust out, the good, the bad and the ugly, nothing rejected, nothing abandoned. Not only does she sustain contradictions, she turns the ambivalence into something else. She can be jarred out of ambivalence by an intense, and often painful, emotional event which inverts or resolves the ambivalence.” (Pg. 379) [Gloria Anzaldúa]As significant as ‘This Bridge Called My Back’ was, this collection is much broader (particularly in including Latina writers), and diverse; it will be “must reading” for anyone (including instructors looking for classroom texts of readings) interested in women of color, feminism, or Women’s Studies.

Gloria Anzaldúa (1942-2004) also wrote/edited This Bridge Called My Back: Writings by Radical Women of Color,This Bridge We Call Home: Radical Visions for Transformation,Borderlands/La Frontera,Interviews/Entrevistas,The Gloria Anzaldúa Reader, etc.She wrote in the Introduction to this 1990 book, “In this anthology and in our daily lives, we women of color strip off the mascaras others have imposed on us… so that we may become subjects in our own discourses… This book aims to make accessible to others our struggle with all our identities, our linkage-making strategies and our healing of broken limbs… For years I waited for someone to compile a book that would continue where ‘This Bridge Called My Back’ left off… A book that would deepen the dialogue between all women and that would take on the various issues… in alliance-building. A book that would explode the neat boundaries of the half dozen categories of marginality that define us and one that would unflinchingly bring us [face to face] with our own historias. A book that would bear unmistakable witness…“I got tired… of being a resource for teachers and students who asked me what texts by women of color they should read or teach and where they could get these writings… Then, in the spring of 1988, when I came… to teach for U.C. Santa Cruz’s Women’s Studies, I realized there were no recent anthologies of women-of-color writings. I stopped waiting… I worked around the clock frantically locating, reading, copying, compiling and organizing material for a class reader…” (Pg. xvi-xvii) She continues, “This anthology is meant to engage the reader’s total person… It attempts to explore our realities and identities… and to unbuild and rebuild them… these pieces attest to the fact that more and more we are concentrating on our own projects, our own agendas, our own theories.” (Pg. xviii)Some of the writings included are Barbara Smith’s ‘Racism and Women’s Studies’; ‘Inclusion Without Influence: The Continuing Tokenism of Women of Color’ by Lynet Uttal; Bernice Zamora’s ‘Notes from a Chicano “Coed”’; June Jordan’s ‘Where is the Love?’; ‘Talking Back’ by bell hooks; Michelle Cliff’s ‘Object Into Subject: Some Thoughts On the Work of Black Women Artists’; ‘Developing Unity Among Women of Color’ by Virginia Harris and Trinity Ordoña; Audre Lorde’s ‘I Am Your Sister: Black Women Organizing Across Sexualities’; ‘La conciencia de la mestiza: Towards a New Consciousness’ by Gloria Anzaldúa, and much more.To give you a brief idea of the riches contained in this collection, here are a few quotes: “the previous … women’s movement had attempted to create an empowered sisterhood through erasing our differences as women of color under the ‘unifying’ category of ‘women’ … in opposition to the category ‘men.’ The privileging of this binary opposition, however, made invisible important differences within each of these categories. Thus racism was unthinkingly perpetuated in the name of liberation. The ‘common ground’ …. was constructed so that it forced a false unity of women, a unity which worked to erase and thus oppress the lives of many women. To demand the recognition of differences from the inside of this unity signified disloyalty…” (Pg. 65) [Chela Sandoval]“I see so many of us on the streets today… We’re part of a very unique, late 1960s biracial baby boom and now we’re coming out, coming into our own, finding our way through this relatively new thing called adulthood… Other Blacks nod and greet us with a ‘How you doin today’ or they don’t. Only to explain later in whispering, secretive tones, ‘I really wasn’t sure when I first saw you…’ And when we openly identify African American… we’re told to forget it. That we’re not REALLY Black, not authentic, down-home … sistas…” (Pg. 91) [Kristal Brent Zook]“We [women of color] have memories like elephants. The slightest hurt is recorded deep within. We do not forget the injury done to us and we do not forget the injury we have done another. For unfortunately we do not have hides like elephants. Our vulnerability is measured by our capacity for openness, intimacy. And we all know that our own kind is driven through shame or self-hatred to poke at all our open wounds. And we know they know exactly where the hidden wounds are.” (Pg. 142) [Gloria Anzaldúa]“I was a junkie… This act is clearly the embodiment of self-hatred. Hatred which goes back a long time… Yet it is our collective wills which have created the need for killer drugs. Violent responses in any form they take are accomplices to the wills which have created the need. The availability of drugs is not the problem or the dealer down on 122nd street. They are only players in a far more complex value system of worth which nurtures self-hatred. Self-hatred which is directing and encouraging people to believe suicide is an option---as is alcohol or drug addiction or the reckless homicide on the highways.” (Pg. 171-172) [Aletcia Tijerina]“Recently, efforts by black women writers to call attention to our work serve to highlight both our presence and absence. Whenever I peruse women’s bookstores, I am struck not by the rapidly growing body of feminist writing by black women, but by the paucity of published material. Those of us who write and are published remain few in number. The context of silence is varied and multi-dimensional. Most obvious are the ways racism sexism, and class exploitation act suppress and silence. Less obvious are the inner struggles, the efforts made to gain the necessary confidence to write, to re-write, to fully develop craft and skill—and the extent to which such efforts fail.” (Pg. 210) [bell hooks]“For many of us, the question of priorities remains a crucial issue… Imputing race or sex to the creative act has long been a means by which the literary establishment cheapens and discredits the achievements of non-mainstream women writers… Yet the time has passed when she can confidently identify herself with a profession or artistic vocation without questioning and relating it to her color-woman condition. Today, the growing ethnic-feminist consciousness has made it increasingly difficult for her to turn a blind eye… to writing itself as a practice located at the intersection of subject and history… no matter what position she decides to take, she will sooner or later find herself driven into situations where she is made to feel she must choose from among three conflicting identities. Writer of color? Woman writer? Or woman of color? Which comes first? Where does she place her loyalties?” (Pg. 245) [Trinh T. Minh-ha]“Unity is not automatically bequeathed to people of color. Racism translates the differences among us into RELATIVELY preferential treatment for some at the expense of others, promoting internalized racism and cross-cultural hostility. Disunity among people of color due to the exploitation of differences is an inherent part of the system of racism. The POTENTIAL for unity is there and the POWER is tremendous---witness the recent Civil Rights Movement. For unity to develop and continue to exist, the distrust and discord ever-present among us must be replaced.” (Pg. 314) [‘In Alliance, In Solidarity’]“Chicana literary discourse, like most feminist discourse, is a troubled one. It is always searching, questioning and fraught with tensions and contradictions, just as is the creative writing arising from the same creative context. A truly Chicana literary theory would result from the attempt to resolve these things, to mend the rift between doers and thinkers. I think we would all agree that Chicana criticism and theory are still in a state of flux looking for a theoretical, critical framework that is our own, whatever the perspective… Perhaps from a more open perspective our own theoretical critical analysis will arise, rather than finding the theory first and imposing it upon the literature.” (Pg. 350) [Tey Diana Rebolledo]“The new mestiza copes by developing a tolerance for contradictions, a tolerance for ambiguity… She learns to juggle cultures. She has a plural personality, she operates in a pluralistic mode--- nothing is thrust out, the good, the bad and the ugly, nothing rejected, nothing abandoned. Not only does she sustain contradictions, she turns the ambivalence into something else. She can be jarred out of ambivalence by an intense, and often painful, emotional event which inverts or resolves the ambivalence.” (Pg. 379) [Gloria Anzaldúa]As significant as ‘This Bridge Called My Back’ was, this collection is much broader (particularly in including Latina writers), and diverse; it will be “must reading” for anyone (including instructors looking for classroom texts of readings) interested in women of color, feminism, or Women’s Studies.

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