Reading Chican@ Like a Queer: The De-Mastery of Desire (Cmas by Sandra K. Soto

By Sandra K. Soto

A race-based oppositional paradigm has knowledgeable Chicano reports on account that its emergence. during this paintings, Sandra ok. Soto replaces that paradigm with a much less didactic, extra versatile framework geared for a queer research of the discursive courting among racialization and sexuality. via re-readings of a various diversity of largely mentioned writers - from Americo Paredes to Cherrie Moraga - Soto demonstrates that representations of racialization truly rely on the sexual and racialized sexuality is a heretofore unrecognized organizing precept of Chican@ literature, even within the very unlikely texts. Soto provides us a broader and deeper engagement with Chican@ representations of racialization, hope, and either inter- and intracultural social relatives. whereas a number of students have began to take sexuality heavily through invoking the wealthy terrain of up to date Chicana feminist literature for its portrayal of culturally particular and traditionally weighted down gender and sexual frameworks, in addition to for its imaginitive transgressions opposed to them, this can be the 1st research to theorize racialized sexuality as pervasive to and allowing of the canon of Chican@ literature. Exemplifying the huge usefulness of queer conception by way of extending its serious instruments and anti-heteronormative insights to racialization, Soto levels an important intervention amid a definite lack of optimism that circulates either as a terror that queer concept was once a fad whose time has handed, and that queer thought is incapable of supplying an incisive, politically grounded research in and of the present ancient second.

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Additional info for Reading Chican@ Like a Queer: The De-Mastery of Desire (Cmas History, Culture, & Society Series)

Example text

And, in literary studies, many consider one mark of a good writer to be the ability to write honestly from his or her own truth as a human being, the implication being that this form of creativity will generate something of universal value to which others can relate; the particularities of a writer’s stories are less important than the emotional truths through which they are elaborated (such is the motivation of much of Richard Rodriguez’s writings, as shown in Chapter 2). But Moraga’s lesson to her students is no self-help healing regimen; nor is it a call to put forth universal truths about the shared pain of being human.

Redresses the previous lack (of authentic motherhood, of legitimate fatherhood) and mirrors how the act of conception brings together previously warring parts of herself” (133). Referred to now as stuff of the past, the “previously warring” tensions, contradictions, and anxieties expressed in Moraga’s earlier works are, for Yarbro-Bejarano, by necessity worked through when Moraga must now make legible a life, a body, and a family that are illegible according to both heteronormative and homonormative logics of motherhood and womanhood.

The personal seems political only insofar as oppression (represented here as always launched from the “public” realm) acts on individuals (in the “private” realm) in a fairly straightforward, unidirectional way. The ensuing personal knowledge about power—the evidence produced by the personal experience of political oppression—can be circumscribed only by the “us”/“them” binary, where “us” is the oppressed and “them” is the oppressor. ”5 Thus one aspect of Moraga’s work that distinguishes it from other accounts of difference is its elaboration of what it means to be Other, not in the usual relation to dominant society but in relation to the racialized group that is the very subject of difference (itself Other in relation to dominant society).

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