Borderlands/La Frontera: The New Mestiza, Fourth Edition

Gloria Anzaldua is a master of words. The book will make you cry and laugh at the same time. She transmits her pride in every single line. This is a must for every person of Mexican descend. An absolute must-have for every woman, every Chicana. A must for any other culture trying to understand the history and context of the struggles of Mexican American, especially the ones living in the areas of the border. She was and is brilliant!

Not much can be said to some of the postings I see here--to those that suggest the third tier prose, those that call this work "racist," those that implore statements like "I hated it." These are the same people that vote for their own oppression, these are the very people that fancy their success on some sense of entitlement. Relax, you do not have to agree, but hear me out. Classic. Classic. With the colorful enagement of gender, consciousness, and subconscious indeterminacy, the creation of a new utopia (racial, linguistic, gender, cultural, etc) is suggested by the prose of self actualization. This book is about all of us--it is about the exchanges we have with domination, be it familial or societal. It's loose diction is its very strength, it does not confide to the subordination of patriachal, hegemonic forces of tradition. The reflexive allegorical stories and unpacking of our human complexity give it a breathing body and a compelling face. Anzaldua suffered greatly for not writing like "the male pimps," those that claim a fanatical space in some high art and legitimacy canon. It was her filter of difference, it was her cries for something else, that connects with everyone at a spiritual level. I do not know how this can be connected to some mundane powerpoint presentation at a university; this piece involves the full of enagement of mind, body, and soul. To contextualize it--one needs to read consistently. In order to feel out her domain, one must be willing go beyond what "our mom said" or "what our 6th grade teacher" told us about this and that. This about the struggle for agency; this about search for Thoreau's Walden amidst sociohistorical forces that still "do not see." Welcome it. This classic work of literature, philosophy, education...remains one of the most unrecognized treatises on being and becoming.

Other reviewers have covered many of the qualities of the work, so I want to dwell on just one point - don't be fooled into thinking that this work is useful only as a personal study on Anzaldua's cultural/gender/queer theory. Anzaldua is of high importance to any philosophy of the social; within her writing you can find the key insights of figures such as Derrida and Nietzsche, as they relate to personal identity crafted out of a fractured heritage. Her point is that we are ALL borderlanders given that the human condition involves being stretched across a chasm of self-alterity. Only through a full recognition of this can a critical inventory of the self be undertaken, which is a prerequisite to responsibility and genuine care of the self.

The US- Mexican border es una herida abierta where the Third World grates against the first and bleeds. And before a scab forms it hemorrhages again, the lifeblood of two worlds merging to form a third country, a border culture. --AnzalduaThis is a superb book. It approaches the themes relating to Chicano identity, and does so through poetry that extends from the included poems to the cultural-socioeconomic exploration that the body of the text undergoes.In response to negative reviews posted: yes, Borderlands does confront emotional and cultural issues brought up in other Chicano/ border-culture texts. So what. Not enough books have been written about this, especially in this format that reacts to Chicano/ border-related issues in both an intellectual and emotional/ artistic mannor. The book does this with a beautiful poeticism that carries the essence of the hispanic literary tradition, bringing the culture of the written Spanish world into a primarily English-language book.The Spanglish included is intended for an English-speaking audience, and is not in my opinion of the true transient nature which is inextricable from spoken Spanglish. So at times the language of the writing does feel a tad contrived; using Spanish as a highlighter for key words of certain themes as opposed to allowing it even-handed participation in the exploration of the author's thesis.While somewhat obnoxious, this choice points to Anzaldua's desire to make this work accesible to people with little or no knowledge of Spanish. This can be seen as a beacon to draw in people who do not as yet see themselves as connected to the Chicano / Hispanic world.If you like this book, check out the other collections put out by Aunt Lute (the book's original publisher), as well as writings by author/ playwright / peformer Cherrie Morraga, playwright Magdalia Cruz, poet/ artist Ivan Silen.

Anzaldua weaves a richly complex tapestry which explores many facets of "mestiza" -- of being "caught between" a variety of binary oppositions. Of course, the complicated cultural issues of mestiza are thoroughly addressed in this brilliant, spell-binding book. Also, issues of language (as she weaves a variety of languages and linguistic modes of expression in her text), sexual identity (as a lesbian woman), shamanic consciousness (which she describes as her "waking dream" or the Coatlicue state," and later as the "shamanic state"), and more. The political implications of the book are powerful and engagingly complex. Yet at the same time, the personal and spiritual dimensions of the book are intensly satisfying. I find this book opening up doors of consciousness for me in my own spiritual and creative life. I strongly recommend reading this book at night before going to sleep. It is the kind of literature that expands in the dreaming consciousness.

Borderlands/ La Frontera: the new Mestiza by Gloria Anzaldua is a wonderful piece of literature that refreshes and revitalizes the image of both Chicana/os and lesbians in a refreshing manner that exalts the power and possibilities immanent in both these marginalized perspectives. To reader who are skeptical of the legitimacy behind these positions beware, the immediacy of her prose and poetry may just convert you. But, regardless of ones knowledge of either contemporary issues in the more academic realm of queer theory and Chicano studies. The book is a wonderful achievement and insight into both of these very different and yet connected worlds, which are interlaced throughout the work. The English speaking reader may be wary of a book that does not cater to us as a reader-the book contains both passages in English and Spanish-however, even without access to the Spanish passages the book is a good way of getting to know a very different world than what most straight white middle class America is used to. The Book is composed of seven essays, which is followed by selections of her poetry. However, do not make the mistake that these essays are only dry theoretical, or historical tales, to inform the reader about the plight of lesbians and Chicana/os, even though this is in some sense what these pieces are about. But Anzaldua's means of presenting of factual material is more akin to the poetry in the second half of the book than what we might normally expect. Her mixing of these genre's serves simultaneously to explore new frontiers both in an aesthetic sense and to truly give new life to her subject matter. The result is a work which defies traditional modes of classification while simultaneously breathing an electric passion into the representation of peoples we might easily not have an opportunity to see or hear. The metaphor of the Borderlands is an apt description of the book as a totality, while within the text this in-between space is central to her understanding of h! erself as a Queer Chicana writer. Anzaldua resists the temptation to stand in either the sexually exclusive camp of Lesbian, or within the Ethnic label of Chicano. Indeed much of the book deals with the discrepancy and reconciliation between these two, and many other, seemingly irreconcilable position. However, the author does not want to leave either of these positions by the wayside. Seeing instead that the uniqueness of her position gives her a power to critique her culture while simultaneously doing so from the very position that often removes her from it, i.e. her sexual orientation. Thus the uniqueness of the work grows out of this lively and powerful acceptance of herself and though we might believe that such a position is foreign to "us," whoever this "us" might be. The reality is that this desire to not lock-down her identity into neat and tidy closed categories might serve to benefit all people regardless of sexual preference, ethnicity, class, gender,