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163
refer to contemporary discrimination both from within as well as from
outside the Chicano community, she writes:
Don’t you remember me?
Your chauvinism impedes my inner growth
. . .
you smashed all women’s hopes
you destroyed my life.
In this poem, Camarillo resurrects several denigrated women of Mexican
American mythology and history, giving them new life, new voices and
agency in a contemporary moment. In addition, she code-switches by
using both Spanish and English signaling an inclusion/exclusion from
both Spanish and Anglo cultures. What she creates is a new cultural
space, a borderlands where the doubly-colonized speaks to both
colonizers in their language. Despite using Spanish and English, the
effect is to create a poem that is both part of and not part of either culture.
Instead, it is a singularly Chicana space – woman-centered, bilingual.
Don’t you know me?
I am the mother of my people.
I am the symbol of fertility,
pride,
strength,
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 168 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 163 refer to contemporary discrimination both from within as well as from outside the Chicano community, she writes: Don’t you remember me? Your chauvinism impedes my inner growth . . . you smashed all women’s hopes you destroyed my life. In this poem, Camarillo resurrects several denigrated women of Mexican American mythology and history, giving them new life, new voices and agency in a contemporary moment. In addition, she code-switches by using both Spanish and English signaling an inclusion/exclusion from both Spanish and Anglo cultures. What she creates is a new cultural space, a borderlands where the doubly-colonized speaks to both colonizers in their language. Despite using Spanish and English, the effect is to create a poem that is both part of and not part of either culture. Instead, it is a singularly Chicana space – woman-centered, bilingual. Don’t you know me? I am the mother of my people. I am the symbol of fertility, pride, strength, |
