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91
slightly rounded
nose,
the deep brown of your hardened
face, soft
full lips.68
The words, spoken to a stranger, nonetheless full of tenderness. Only the
“flashback memories” that the encounter engenders in the speaker breaks
the mood. Suddenly, the speaker (and the reader of the poem) is
transported to a time before the conquest of Mexico. In this pre-Spanish
and pre-Anglo era there were “sky topped mountains,/ god-suns, wind-swept
rains;/ oceanic deities/ naked children running/ in the humid air.”
The land and its people was peaceful. But then, the idyll was broken by:
White foreign strangers
riding high
on four-legged
creatures;
that made us bow to them.
In our ignorance of the unknown
they made us bow.
Castillo’s use of “White foreign strangers” triply indicates an invasion by
outsiders. We have already learned that the people of this land are “deep
brown,” thus reference to whiteness is a clear indication that the ones she
Object Description
| Title | "As shelters against the cold": women writers of the Black Arts and Chicano movements, 1965-1978 |
| Author | Ryder, Ulli Kira |
| Author email | uryder@usc.edu; uryder@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | American Studies & Ethnicity |
| School | College of Letters, Arts and Sciences |
| Date defended/completed | 2008-08-27 |
| Date submitted | 2008 |
| Restricted until | Restricted until 27 October 2010. |
| Date published | 2010-10-27 |
| Advisor (committee chair) | McKenna, Teresa |
| Advisor (committee member) |
Sanchez, George J. Johnson, Dana |
| Abstract | This dissertation examines the work of women writers in the Black Arts and Chicano movements during the years 1965-1978. I argue that understanding the intersectional nature of the women's experiences is crucial for understanding their literary output. Further, I argue that Chicanas and African American women of this era challenged homogenous notions of community and racial identity and that we can trace the development of the Third World feminism and multiculturalism that came to the fore in the 1980s to this earlier period. Thus, this study also impacts the way we conceptualize identity formation and the creation of the literary canon. Investigating the ways in which these women integrated nationalist and feminist rhetoric and activism in their work is crucial for a full understanding of this critical period in U.S. history. At stake is an understanding of how Chicana and African American women in the United States have formed identities and communities; struggled for liberation and equality; and become part of the U.S. literary canon. |
| Keyword | Black Power; Black Arts movement; Chicano movement; civil rights; racial identity formation; womanism; borderlands theory; feminism; Third World feminism; nationalism; intersectionality |
| Geographic subject (country) | USA |
| Coverage date | 1965/1978 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m1698 |
| Contributing entity | University of Southern California |
| Rights | Ryder, Ulli Kira |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Ryder-2415 |
| Archival file | uscthesesreloadpub_Volume40/etd-Ryder-2415.pdf |
Description
| Title | Page 96 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 91 slightly rounded nose, the deep brown of your hardened face, soft full lips.68 The words, spoken to a stranger, nonetheless full of tenderness. Only the “flashback memories” that the encounter engenders in the speaker breaks the mood. Suddenly, the speaker (and the reader of the poem) is transported to a time before the conquest of Mexico. In this pre-Spanish and pre-Anglo era there were “sky topped mountains,/ god-suns, wind-swept rains;/ oceanic deities/ naked children running/ in the humid air.” The land and its people was peaceful. But then, the idyll was broken by: White foreign strangers riding high on four-legged creatures; that made us bow to them. In our ignorance of the unknown they made us bow. Castillo’s use of “White foreign strangers” triply indicates an invasion by outsiders. We have already learned that the people of this land are “deep brown,” thus reference to whiteness is a clear indication that the ones she |
