By Cherríe L. Moraga
Thirty years after the ebook of Anzaldúa and Moraga’s assortment This Bridge referred to as My Back, a landmark of women-of-color feminism, Moraga’s literary and political praxis is still influenced by means of and intertwined with indigenous spirituality and her id as Chicana lesbian. but features of her pondering have replaced over the years. A Xicana Codex of fixing Consciousness finds key modifications in Moraga’s idea; the breadth, rigor, and philosophical intensity of her paintings; her perspectives on modern debates approximately citizenship, immigration, and homosexual marriage; and her deepening involvement in transnational feminist and indigenous activism. it's a significant assertion from considered one of our most vital public intellectuals.
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Additional info for A Xicana Codex of Changing Consciousness: Writings, 2000–2010
Nobody’s dollars bought this moment. The sky’s for free. Maybe a new world is emerging as my son feared. I’ve got a full belly and healthy kids who still dance under the rain clouds. Es un momento fugaz. How long can we even claim this small spot of peace? It is a privilege threatened by war. And war, at its most elemental, is death for all of us. “Not in my back yard” no longer exists, America. ”19 It is a question to ask myself, it is a question to ask my country. The United States does not need to be defended; it needs to be cured.
Feminism of color was shaped by a late 1970s understanding of the history of colonialism and neocolonialism in the United States, as well as our intracultural critique of the sexism and heterosexism in race-based liberation movements. We recognized and acknowledged our internally colonized status as the children of Native and African peoples (“the first and forced Americans,” as the poet Gloria Yamato once put it to me, quoting Amanda White2), and we found political alliance with the great-granddaughters of the disenfranchised Chinese railroad workers of the late 1800s and the daughter-survivors of the internment of Japanese Americans during World War ii.
They are not tricked into believing that postmodern theory is the same as radical action or that tenure is a tent against the harsh elements of oppression. Therefore, they remain my allies, these white women. Still, I don’t see them that much anymore. There was a time, living in New York City in the early eighties, when I ran with a buncha white and Black literary girls and we had a shared purpose. Cuz I was still thinking kind of in black and white back then, never naming, except with great pains in my own private writings, what really tormented my soul at night: a desire for return more primordial than any simple cross-country relocation to Califas could fulfill.
A Xicana Codex of Changing Consciousness: Writings, 2000–2010 by Cherríe L. Moraga