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134
Chicana writing (at least in Anzaldúa’s case) was chilly at best. She says
that, “The first things I sent out were to Chicanas and Chicanos. I started
feeling out Chicanos when I became a lesbian. They weren’t ready for that
kind of thing. The only group I thought receptive to my work was the
feminist community. . . In the feminist community, more parts of me are
allowed. It allows me to be Chicana, to be queer, to be spiritual. The
Chicano community does not accept queers.”47 Like African American
women in the Black Arts/ Black Power movement, Chicana lesbian
feminists confronted deep-seated discrimination by other members of the
political movement.
In some ways we can understand the opposition to feminist
lesbians in the movements through the lense of Devon Carbado’s article
“The Fifth Black Woman.”48 In this article, Carbado recounts the issues
facing some black women who desire to take action towards employers for
discriminatory hiring and promotion practices. Carbado argues that
some black women have a much harder time proving discrimination in
workplaces in which other black women have been hired and promoted
regularly. In his example, one black woman (the “fifth black woman”)
does not receive comparable treatment. This woman, unlike the others,
does not engage in certain activities such as playing golf or attending
cocktail parties and she (unlike the others) displays her ethnicity in
unmitigated ways (i.e. in the wearing of dredlocks instead of processed
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 139 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 134 Chicana writing (at least in Anzaldúa’s case) was chilly at best. She says that, “The first things I sent out were to Chicanas and Chicanos. I started feeling out Chicanos when I became a lesbian. They weren’t ready for that kind of thing. The only group I thought receptive to my work was the feminist community. . . In the feminist community, more parts of me are allowed. It allows me to be Chicana, to be queer, to be spiritual. The Chicano community does not accept queers.”47 Like African American women in the Black Arts/ Black Power movement, Chicana lesbian feminists confronted deep-seated discrimination by other members of the political movement. In some ways we can understand the opposition to feminist lesbians in the movements through the lense of Devon Carbado’s article “The Fifth Black Woman.”48 In this article, Carbado recounts the issues facing some black women who desire to take action towards employers for discriminatory hiring and promotion practices. Carbado argues that some black women have a much harder time proving discrimination in workplaces in which other black women have been hired and promoted regularly. In his example, one black woman (the “fifth black woman”) does not receive comparable treatment. This woman, unlike the others, does not engage in certain activities such as playing golf or attending cocktail parties and she (unlike the others) displays her ethnicity in unmitigated ways (i.e. in the wearing of dredlocks instead of processed |
