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Borderlands/La Frontera: The New

Mestiza
Borderlands/La Frontera: The New Mestiza is a 1987
semi-autobiographical work by Gloria E. Anzaldúa that examines Borderlands/La Frontera:
the Chicano and Latino experience through the lens of issues The New Mestiza
such as gender, identity, race, and colonialism. Borderlands is
considered to be Anzaldúa’s most well-known work and a
pioneering piece of Chicana literature.[1]
In an interview, Anzaldúa claims to have drawn inspiration from

the ethnic and social community of her youth[1] as well as from
her experiences as a woman of color in academia.[2] Scholars also
argue that Anzaldúa re-conceptualized the theory of the
"mestiza" from the Chicano Movement.[3]
The term Borderlands, according to Anzaldúa, refers to the

geographical area that is most susceptible to la mezcla
[hybridity], neither fully of Mexico nor fully of the United
States.[4] She also used this term to identify a growing population
that cannot distinguish these invisible "borders," who instead
have learned to become a part of both worlds, worlds whose
cultural expectations they are still expected to abide by.[4]
Borderlands details the invisible "borders" that exist between
Latinas/os and non-Latinas/os, men and women, heterosexuals Author Gloria Anzaldúa
and homosexuals, and other groups.[4] Each of the essays and
poems draws on the author’s life experiences as a Chicana and Cover artist Pamela Wilson
lesbian. In both prose and poetry sections, Anzaldúa challenges Country United States
the conception of a border as a divide and calls for the majority,
Language English & Spanish
especially those from the Western culture, to nurture active
interest in the oppressed and change their attitudes that foster Genre Essay
the growth of borders. Publisher Aunt Lute Books
Borderlands is a semi-autobiographical account that contains a Publication 1987

date
mixture of prose and poetry. Anzaldúa alternates between
Spanish and English using a technique such as “code- Media type Print (paperback)
switching.”[2] Additionally, Anzaldúa’s frequent usage of Pages 260 pp.
metaphors and imagery has been described by scholars as “poet-
ISBN 978-1-879960-12-
shaman aesthetics.”[5]
1
Scholars have analyzed Borderlands/La Frontera from a variety
of perspectives. Professor María L. Amado describes Anzaldúa’s Borderlands and her theory of “the
new mestiza” as one of racial inclusivity.[3] Critical race scholar Miriam Jiménez Román contends
that Anzaldúa’s emphasis on intermixing identities through the “mestiza consciousness” reifies
current racial hierarchies and inequality.[6] Scholar Ian Barnard argues that Anzaldúa universalizes
the queer experience by incorporating various identity categories into her theory of the
borderlands.[7] Literary scholar Hsinya Huang examines argues that Borderlands forefronts the often
excluded narratives of Indigenous people.[8] Scholar AnaLouise Keating argues that Anzaldúa
https://en.wikipedia.org/wiki/Borderlands/La_Frontera:_The_New_Mestiza 1/11
appropriates Indigenous by referring to herself as “shaman." [5] Professor Amy-Reed Sandavol argues
that Anzaldúa’s Borderlands contains early portrayals “socially undocumented identity” by depicting
the deportation of U.S. Citizens.[9]
Borderlands has been a subject of controversy due to House Bill 2281 passed by the Arizona
legislature, which banned the teaching of ethnic studies courses and literature that were thought to
“promote resentment towards a race or class of people,” resulting in the banning of Borderlands.[10]
However, Borderlands has also been promoted in educational spaces by Professor Cati V. de Los Ríos,
who describes its role in affirming student identity.[10] Borderlands also received recognition from
the Literary Journal as one of the 38 Best Books of 1987.[11]
Contents
Background
Summary
Chapter 1: The Homeland, Aztlán/ El Otro México
Chapter 2: Movimientos de Rebeldía y las Culturas que Traicionan
Chapter 3: Entering into the Serpent
Chapter 4: La Herencia de Coatlicue/ the Coatlicue State
Chapter 5: How to Tame a Wild Tongue
Chapter 6: Tlilli, Tlapalli/ The Path of Red and Black Ink
Chapter 7: La Conciencia de la Mestiza / Towards a New Consciousness
Genre/Style Section
Analysis
Race and Sexuality
Indigeneity
Immigration
Reception
Censorship
Influence
Awards
See also
References
Background
Born in the Rio Grande Valley of South Texas on September 26, 1942,[12] Gloria Anzaldúa grew up on
a ranch where her parents worked as farmers.[1] In an interview with Professor of Literature Ann E.
Reuman, Anzaldúa expresses that her ethnic background and childhood experiences in a southern
Texas farming culture both heavily influenced her work in Borderlands.[1]
In 1969 Anzaldúa received her bachelor's degree in English from the University of Texas- Pan
American.[12] From there she went onto a master's program at the University of Texas-Austin and
graduated with her master's in English and Education in 1972.[12] On May 15, 2004, Gloria Anzaldúa
died of diabetes complications.[12]
As the publication of Borderlands followed the Chicano Movement, Professor of Sociology María L.
Amado argues that Anzaldua drew influence for her concept of the “new mestiza” from that of “la
Raza mestiza,” a theory of collective identity predicated on notions of racial purity created by
philosopher José Vasconcelos, later adopted by Chicanos.[3]
Scholar Melissa Castillo-Garsow also lends much of Anzaldúa’s influence to her experiences as a
woman of color in academia.[2] Rather than having Borderlands maintain adherence to academic
norms, Castillo-Garsow argues that Anzaldúa’s work challenges traditional paradigms through her
theorization of the “mestiza consciousness” and the intermingling of her own Chicano Spanish with
standard academic English, drawing from her background as a Chicana woman.[2]
Summary
Chapter 1: The Homeland, Aztlán/ El Otro México
El otro Mexico que aca hemos construido, el espacio es lo que ha sido territorio nacional.
Este el efuerzo de todos nuestros hermanos y latinoamericanos que han sabido
progressar.[13]
The other Mexico that we have constructed, the space is what has become national
territory. This is the work of all our brothers and Latin Americans who have known how
to progress.
In this first chapter, Anzaldúa argues that land is not the property of European descendants but
rather is of Indigenous ancestry, "humankind in the U.S.— the Chicanos' ancient Indian ancestors—
was found in Texas and has been dated to 3500 B.C." [14] Further, Anzaldúa describes the removal of
Mexican and Indigenous populations from their land during the Mexican-American War.[15] She
refers to this as “the fiction of White Superiority,”[15] in which the “Anglos” claimed both the territory
of and power over its previous Mexican and Indian inhabitants.[16] Anzaldúa contends this
displacement of Mexican and Indigenous communities extended beyond the border, as corporations
and landowners from the U.S. began to decrease Mexico’s monetary sovereignty.[17]
Chapter 2: Movimientos de Rebeldía y las Culturas que Traicionan
Esos movimientos de rebeldia que tenemos en la sangre nosotros los mexicanos surgen
como rios desbocanados en mis venas.
Those rebellious movements we Mexicans have in our blood surge like overflowing rivers
in my veins.[18]
She recognizes that she challenges social norms and her culture in various ways. She wants to be
happy with the way she is, but it causes discomfort within society and her family. By being lesbian,
she challenges the norms imposed by the Catholic Church. As a little girl, she was raised to keep her
mouth shut, respect men, slave for men, marry a man, and not ask questions. Gloria was not allowed
to be "selfish" and if she was not doing something for a man, then it was considered laziness. "Every
bit of self-faith I'd painstakingly gathered took a beating daily".[13] She felt her culture taught that it
was wrong for her to improve herself but despite the setbacks, she continued on her journey.
Anzaldua challenged all norms in her life; she questioned aspects such as religion, culture,
homosexuality, and femininity. All presented barriers that forced her to be someone she was not
comfortable being. She did not meet these demands because her identity is grounded in Indian
women's history of resistance.[19] Instead of moving forward, she feels as if the ideas presented in
those circles are regressive and hinder people's growth and happiness. Rebellious actions are a means
to disband certain ideologies and show people that some cultural traditions betray their people.
Chapter 3: Entering into the Serpent
Sueño con serpientes, con serpientes del mar, Con cierto mar, ay de serpientes sueño yo.
Largas, transparentes, en sus barrigas llevan lo que puedan arebatarle al amor. Oh, oh,
oh, la mató y aparece una mayor. Oh, con much más infierno en digestión.
I dream of serpents, serpents of the sea, oh, of serpents I dream. Long, transparent, in
their bellies they carry all that they can snatch away from love. Oh, oh, oh, I kill one and a
larger one appears. Oh, with more hellfire burning inside![20]
One of the main symbols of Mexican religious and mythological culture is that of the snake, la víbora.
Anzaldúa, in this chapter, thoroughly outlines the different aspects [both negative and positive] of la
víbora and how these different characteristics have affected her life as a Chicana. She continues the
chapter by identifying the Virgen de Guadalupe, one of Catholicism’s famous pagan entities, through
her Indian names Coatlalopeuh and Coatlicue, which translate into “serpent” and “she who wears a
serpent skirt,” respectively. In the Aztec-Mexica society, after the trek from Aztlán, women were able
to possess property, were gwalees and priestesses, and royal blood ran through the female line. By
taking away her Coatlalopeuh, Guadalupe was deleted and no longer had the serpent/sexuality aspect
in her personality. Her story was remade by a male-dominated Aztec-Mexican culture that drove
female entities underground by placing male entities in their place.
Regardless of the stance she remained after her desexing and the masculinization of religion, she
became the largest symbol in Mexican religion, politics, and culture today, surpassing the importance
of Jesus and God the Father in the lives of the Mexican population, both in Mexico and in the United
States. Chicana culture, according to Anzaldúa, no longer identifies with the Spanish father but with
the Indian mother. Continuing with the symbol of the serpent, Anzaldúa claims that the Serpent’s
mouth is associated with womanhood, which was guarded by rows of dangerous teeth. She also states
that it is a symbol of the dark, sexual drive, the chthonic, the feminine, the serpentine movement of
sexuality, of creativity, and the basis of all energy and life. She ends the chapter by identifying and
thoroughly describing la facultad or the capacity to see in surface phenomena the meaning of deeper
realities.[21]
Chapter 4: La Herencia de Coatlicue/ the Coatlicue State
"The act of being seen, held immobilized by a glance, and 'seeing through' an experience
are symbolized by the underground aspects of Coatlicue, Cihuacoatl, and Tlazolteotl
which cluster in what I call the Coatlicue state."[22]
In this chapter, Anzaldúa begins by describing the importance of the mirror and what it can
symbolize in different cultures. To her, the mirror is a "door through which the soul may ‘pass’ to the
other side and [her mother] didn’t want [her children] to accidentally follow [their] father to the place
where the souls of the dead live."[23] Through this personal anecdote, which becomes relevant to the
rest of her chapter, she then transitions into the idea of the Coatlicue state and what being a part of
that state entails. She describes the Coatlicue state as having duality in life, a synthesis of duality, and
a third perspective, something more than mere duality or a synthesis of duality.[24] She concludes
this short chapter by describing the moment in which she allowed the Coatlicue state to take control
after years of attempting to rule herself. She states that she is never alone and that she is no longer
afraid after this moment, when she finally feels complete.
Chapter 5: How to Tame a Wild Tongue
"And I think, how do you tame a wild tongue, train it to be quiet, how do you bridle and
saddle it? How do you make it lie down?"[25]
This chapter focuses on language, primarily the different aspects of Spanish and English as people of
Mexican descent in the United States speak each. She brings up the struggle of learning a second
language as a young girl in school when the educators are attempting to suppress a large part of her
culture. She goes as far as saying that the “attack on one’s form of expression with the intent to censor
[is] a violation of the First Amendment” and that “wild tongues can’t be tamed, they can only be cut
out.”[26]
Anzaldúa also lists eight different varieties of languages spoken by Chicanas/os including:
1. Standard English
2. Working class and slang English
3. Standard Spanish
4. Standard Mexican Spanish
5. North Mexican Spanish dialect
6. Chicano Spanish (Texas, New Mexico, Arizona and California have regional variations)
7. Tex-Mex
8. Pachuco (called caló)
She reserves a section to talk about Pocho’s, or Anglicized Mexican or Americans of Mexican origin
who speak Spanish with an accent characteristic of North Americans and who distort and reconstruct
the language according to the influence of English. This person is someone who has betrayed their
culture by not properly speaking the language of their homeland. However, Anzaldúa argues that
being Mexican is a state of soul, not one of mind, nor one of citizenship. Neither eagle nor serpent,
but both.[27]
She ends the chapter with a discourse about Chicano Spanish and its influence on the lives of
Chicanas, like Anzaldúa, who grew up believing that they spoke a broken dialect of Spanish. There is
an internalization of identification through childhood experiences with culture [language, food,
music, film, etc.], which, according to Anzaldúa, means the different experiences the Chicanas/os
have growing up influence the manner in which they see the world.
Chapter 6: Tlilli, Tlapalli/ The Path of Red and Black Ink
“My 'stories' are acts encapsulated in time, 'enacted' every time they are spoken aloud or
read silently I like to think of them as performers and not as inert and 'dead' objects.
Instead, the work has an identity; it is a 'who' or a “what' and contains the presences of
persons, that is, incarnations of gods or ancestors or natural and cosmic powers. The
work manifests the same needs as a person, it needs to be 'fed,' la tengo que banar y
vestir."
This chapter covers an overall view on her writing. It tells how she used to tell stories to her sister
under the covers at night. How she notices a Mosaic pattern (Aztec-like) emerging pattern (66).
Starts talking about modern Western cultures and how they behave differently towards work of art
from tribal cultures. She explains Ethnocentrism as the tyranny of Western aesthetics and talks about
the conscious mind, how black and dark may be associated with death, evil and destruction, in the
subconscious mind and in our dreams, white is associated with disease, death and hopelessness (69).
She goes on to say about dreams how “awakened dreams” are about shifts. Through shifts, reality
shifts, and gender shifts,a person metamorphoses it to another in a world where people fly through
the air, heal from mortal wounds (70). She says how her writing produces anxiety and makes her look
at herself and her experience at understanding her own conflicts, engendering anxiety within herself.
That brings about the notion of shifts to borders.[28]
Chapter 7: La Conciencia de la Mestiza / Towards a New Consciousness
“From this racial, ideological, cultural and biological crosspollenization, an “alien”

consciousness is presently in the making- a new mestiza consciousness, una conciencia
demujer. It is a consciousness of the Borderlands.”[29]
In this chapter, Anzaldúa speaks about the mestiza. La mestiza, is a product transfer of the cultural
and spiritual values one group to another. She goes on to talk about la mestiza as perceiving a vision
of reality in a culture that we all communicate. La mestiza gets multiple cultures including the
Chicana culture. In the book it is stated that a Chicana culture is the white culture attacking common
beliefs of the Mexican culture, and both attack commonly held beliefs of the indigenous culture. This
chapter is deep on the thought of the mestiza who constantly has to shift to different problems who
constantly include rather than exclude (78-79). Anzaldúa continues the chapter by writing about the
work of the mestiza, whose main job is to break down the subject-object duality that keeps one
prisoner. It is clear what Anzaldúa is trying to portray the pain of Indigenous people, the mestiza
being a crossbreed, and how one is culture-less.[29]
This chapter also speaks about the mestiza way and how we are people. She states that the dominant
white culture is killing us slowly with their ignorance. This is the point in which Anzaldua starts to
speak about the Indigenous people. It ends with Gloria Anzaldua writing about being back in her
home, South Texas. How her valley struggles to survive, her father being dead by working himself to
death as a farm labor. This ending to her stories speaks towards the land and how it was once
Chicano/a, Mexican, Hispanic, and Indigenous.[29]
Genre/Style Section
Borderlands/La Frontera is a semi-autobiographical work of prose and poetry, approaching subjects
such as race, gender, class, and identity.
Literary scholar AnaLouise Keating conceptualizes Anzaldúa’s writings in Borderlands as a form of

“poet-shaman aesthetics,” which argues that Anzaldua’s words are intended to have material
implications.[30] In particular, Keating draws from interviews in which Anzaldúa describes herself as
a “shaman,” serving as an intermediary for individuals to connect them with their cultural
background.[31] Keating contends this role manifests in Anzaldúa’s poetry, with its frequent usages of
metaphors and imagery as a means to articulate the experiences of oppressed populations and guide
them toward emotional healing.[30]
Another stylistic choice deployed by Anzaldúa in Borderlands is known as “code-switching,” that is,
her interchanging usage of Chicano Spanish and English.[2] According to scholar Melissa Castillo-
Garsow, Anzaldúa utilizes this style to challenge conventional Western writings, while simultaneously
maintaining Borderland’s academic legitimacy by limiting the usage of Spanish and Chicano
vernacular in the book.[2]
Analysis
Anzaldúa’s Borderlands/La Frontera has been critically analyzed by several scholars through the lens
of race, sexuality, indigeneity, and immigration.
Race and Sexuality
Using a critical race lens, Professor of Sociology María L. Amado argues that Anzaldúa subverts
colonial paradigms and oppressive racial categories through her utilization of the term "new mestiza,"
which relies on the inclusion of racial minorities and queer people.[3] Amado contrasts this to the
concept of "old mestiza,” which relies on notions of racial purity and superiority as conceptualized by
philosopher José Vasconcelos.[32]
Race scholar Miriam Jiménez Román describes Anzaldúa’s “mestiza consciousness” as an extension
of the multicultural project within the United States.[33] Roman argues that due to Anzaldúa’s
emphasis on the intermixing of identities and the “elasticity of racial definitions,” the new
consciousness that emerges replicates racial hierarchies and dismisses calls for racial equality.[33]
Through the lens of queer theory, literary scholar Ian Barnard contends that Anzaldúa’s Borderlands
re-conceptualizes the binary between “queer” people of color and white “lesbian/gay” people in her
theory of the “new mestiza.”[34] Through this, Barnard argues that the book universalizes the queer
experience, inviting queer people of all identity categories into this collective consciousness of the
borderlands.[34] Barnard notes that this universalization cannot be compared to white-centric
depictions of multiculturalism as Anzaldúa references her own experiences as a Chicana and that of
other racial minorities.[34]
Indigeneity
Literary scholar Hsinya Huang highlights Borderlands/La Frontera’s portrayal of indigeneity,

arguing that Anzaldúa forefronts narratives of Indigenous identity often excluded within diasporic
studies.[35] Through depictions of pandemics nearly eradicating the Native American population,
Huang argues that Anzaldúa “remaps the borderlands by following the movement of the diasporic
bodies,” subverting colonial paradigms that have historically excluded Indigenous narratives.[36]
Huang also notes Anzaldúa's portrayal of the working Indigenous women along the borders facing
economic, racial, and sexual oppression as a means to further confront colonialism through
narration.[37]
Professor of Women and Gender Studies at the Texas Woman's University AnaLouise Keating argues
that Anzaldúa appropriates indigeneity in Borderlands, particularly in analogizing her experience to
Native Americans and her self-depictions as a “shaman,” which she lent from the indigenous
culture.[38]
Immigration
Professor of Philosophy Amy-Reed Sandavol contends that Anzaldúa’s Borderlands portrayed

“socially undocumented identity,” describing the deportation of an immigrant named Pedro who
despite having been a U.S. Citizen, was coded as an immigrant due to his ethnic identity.[39] Sandavol
further draws on Borderlands’ descriptions of U.S territorial grabs after the Mexican-American War
as a forced removal of the Mexican and Indigenous people to which the land originally belonged.[39]
Reception
Censorship
In 2010, Borderlands/La Frontera was one of the books banned by the Tucson Unified School
System in Arizona when enforcing House Bill 2281, which prohibited the teaching of ethnic studies in
the public school system.[10] HB 2281's purpose was to prohibit school districts or other educational
institutions from including any courses that were considered to “promote resentment towards a race
or class of people”[40] and many other provisions that targeted the ethnic studies programs that were
already in existence.[10]
Influence
Professor at the University of California Los Angeles Cati V. de Los Ríos analyzes the impact of
Borderlands/La Frontera’s ban in the classroom and its implication for student identity. Ríos
engaged in a case study of 35 eleventh- and twelfth-grade students in California and their experiences
in a Chicano/Latino studies program utilizing a Borderlands-influenced curriculum that centered the
experiences of racial minorities.[10] She found that Borderlands and its incorporation into the course
helped students confront their various social identities and navigate their educational endeavors.[10]
Awards
The Library Journal recognized Borderlands as one of 38 Best Books of 1987.[12]
See also
History of North America
Culture of Mexico
Chicano Movement
Latinx Philosophy Spanglish
U Washington Collaborative Wiki
Artist Biography of Gloria E. Anzaldúa
References
1. Reuman, Ann E. (2000-06-01). "Coming lnto Play: An Interview with Gloria Anzaldúa" (https://aca
demic.oup.com/melus/article/25/2/3/953449). MELUS. 25 (2): 3–45. doi:10.2307/468217 (https://d
oi.org/10.2307%2F468217). ISSN 0163-755X (https://www.worldcat.org/issn/0163-755X).
JSTOR 468217 (https://www.jstor.org/stable/468217).
2. Castillo-Garsow, Melissa (2012). "The Legacy of Gloria Anzaldúa: Finding a Place for Women of
Color in Academia". Bilingual Review / La Revista Bilingüe. 31 (1): 3–11. ISSN 0094-5366 (http
s://www.worldcat.org/issn/0094-5366). JSTOR 24705991 (https://www.jstor.org/stable/24705991).
3. Amado, María L. (August 2012). "The "New Mestiza," the Old Mestizos: Contrasting Discourses
on Mestizaje*: THE "NEW MESTIZA," THE OLD MESTIZOS". Sociological Inquiry. 82 (3): 446–
459. doi:10.1111/j.1475-682X.2012.00411.x (https://doi.org/10.1111%2Fj.1475-682X.2012.00411.
x).
4. Anzaldúa, Gloria E. (2012). Borderlands/La Frontera: The New Mestiza. San Francisco: Aunt
Lute Books. pp. Preface. ISBN 978-1-879960-85-5.
5. Keating, AnaLouise (2013). "Speculative Realism, Visionary Pragmatism, and Poet-Shamanic
Aesthetics in Gloria Anzaldúa—and Beyond" (http://muse.jhu.edu/content/crossref/journals/wsq/v
040/40.3-4.keating.html). WSQ: Women's Studies Quarterly. 40 (3–4): 51–69.
doi:10.1353/wsq.2013.0020 (https://doi.org/10.1353%2Fwsq.2013.0020). ISSN 1934-1520 (http
s://www.worldcat.org/issn/1934-1520). S2CID 84745269 (https://api.semanticscholar.org/CorpusI
D:84745269).
6. Román, Miriam Jiménez (2017), A Companion to Latina/o Studies, John Wiley & Sons, Ltd,
pp. 325–336, doi:10.1002/9781405177603.ch29 (https://doi.org/10.1002%2F9781405177603.ch2
9), ISBN 978-1-4051-7760-3 Missing or empty |title= (help); |chapter= ignored (help)
7. Barnard, Ian (21/1997). "Gloria Anzaldua's Queer Mestisaje". MELUS. 22 (1): 35.
doi:10.2307/468079 (https://doi.org/10.2307%2F468079). JSTOR 468079 (https://www.jstor.org/st
able/468079). Check date values in: |date= (help)
8. Huang, Hsinya (2015-12-31). "Indigeneity, Diaspora, and Ethical Turn in Anzaldúa's
Borderlands/La Frontera" (https://docs.lib.purdue.edu/clcweb/vol17/iss5/4). CLCWeb:
Comparative Literature and Culture. 17 (5). doi:10.7771/1481-4374.2741 (https://doi.org/10.777
1%2F1481-4374.2741). ISSN 1481-4374 (https://www.worldcat.org/issn/1481-4374).
9. Reed-S, Amy; oval (2020-02-29). "The injustice of being socially undocumented" (https://m.lasveg
assun.com/news/2020/feb/29/the-injustice-of-being-socially-undocumented/). LasVegasSun.com.
Retrieved 2020-05-08.
10. de los Ríos, Cati V. (March 2013). "A Curriculum of the Borderlands: High School Chicana/o-
Latina/o Studies as Sitios y Lengua". The Urban Review. 45 (1): 58–73. doi:10.1007/s11256-012-
0224-3 (https://doi.org/10.1007%2Fs11256-012-0224-3). ISSN 0042-0972 (https://www.worldcat.
org/issn/0042-0972). S2CID 144218962 (https://api.semanticscholar.org/CorpusID:144218962).
11. Jones, Elizabeth; Jones, Elvin; Olson, Jessica; Teale, Rebecca; Curtright, Lauren (2005). "Gloria
Anzaldúa" (http://conservancy.umn.edu/handle/11299/167856).
12. Jones, Elizabeth; Jones, Elvin; Olson, Jessica; Teale, Rebecca; Curtright, Lauren (2005). "Gloria
Anzaldúa". Voices from the Gaps. hdl:11299/167856 (https://hdl.handle.net/11299%2F167856) –
via University of Minnesota Digital Conservancy.
Lute Books. p.1
Lute Books. p.4
15. Anzaldúa, Gloria E. (197). Borderlands/La Frontera: The New Mestiza. San Francisco: Aunt Lute
Books. p.7
Lute Books. p. 7.
Lute Books. p. 10
Lute Books. p. 15
Lute Books p. 21
Lute Books. p. 47. ISBN 978-1-879960-85-5.
Lute Books. p. 60. ISBN 978-1-879960-85-5.
Lute Books. p. 64.
Lute Books. p. 64.
Lute Books. p. 68.
Lute Books. p. 75.
Lute Books. p. 76.
Lute Books. p. 78.
28. Anzaldua, Gloria (1987). Borderlands/La Frontera: The New Mestiza. San Francisco: Aunt Lute
Books. pp. 66, 69, 70.
29. Anzaldua, Gloria (1987). Borderlands/La Frontera: The New Mestiza. San Francisco: Aunt Lute
Books.
Aesthetics in Gloria Anzaldúa—and Beyond". Women's Studies Quarterly. 40 (3–4): 61–62.
D:84745269).
D:84745269).
32. Amado, María L. (August 2012). "The "New Mestiza," the Old Mestizos: Contrasting Discourses
on Mestizaje*: THE "NEW MESTIZA," THE OLD MESTIZOS". Sociological Inquiry. 82 (3): 447–
457. doi:10.1111/j.1475-682X.2012.00411.x (https://doi.org/10.1111%2Fj.1475-682X.2012.00411.
x).
33. Román, Miriam Jiménez (2017-10-23), Flores, Juan; Rosaldo, Renato (eds.), A Companion to
Latina/o Studies, Blackwell Publishing Ltd, pp. 325–336, doi:10.1002/9781405177603.ch29 (http
s://doi.org/10.1002%2F9781405177603.ch29), ISBN 978-1-4051-7760-3 Missing or empty
|title= (help); |chapter= ignored (help)
34. Barnard, Ian (March 1997). "Gloria Anzaldua's Queer Mestisaje". MELUS. 22 (1): 35.
doi:10.2307/468079 (https://doi.org/10.2307%2F468079). JSTOR 468079 (https://www.jstor.org/st
able/468079).
35. Huang, Hsinya (2015). "Indigeneity, Diaspora, and Ethical Turn in Anzaldúa's Borderlands/La
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ISSN 1481-4374 (https://www.worldcat.org/issn/1481-4374).
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05/09/2020 Borderlands/La Frontera: The New Mestiza - Wikipedia

Borderlands/La Frontera: The New

In an interview, Anzaldúa claims to have drawn inspiration from

The term Borderlands, according to Anzaldúa, refers to the

Borderlands is a semi-autobiographical account that contains a Publication 1987

Chapter 1: The Homeland, Aztlán/ El Otro México

Chapter 2: Movimientos de Rebeldía y las Culturas que Traicionan

Chapter 3: Entering into the Serpent

Chapter 4: La Herencia de Coatlicue/ the Coatlicue State

Chapter 5: How to Tame a Wild Tongue

2. Working class and slang English

4. Standard Mexican Spanish

5. North Mexican Spanish dialect

8. Pachuco (called caló)

Chapter 6: Tlilli, Tlapalli/ The Path of Red and Black Ink

Chapter 7: La Conciencia de la Mestiza / Towards a New Consciousness

“From this racial, ideological, cultural and biological crosspollenization, an “alien”

Literary scholar AnaLouise Keating conceptualizes Anzaldúa’s writings in Borderlands as a form of

Race and Sexuality

Literary scholar Hsinya Huang highlights Borderlands/La Frontera’s portrayal of indigeneity,

Professor of Philosophy Amy-Reed Sandavol contends that Anzaldúa’s Borderlands portrayed

The Library Journal recognized Borderlands as one of 38 Best Books of 1987.[12]

Retrieved from "https://en.wikipedia.org/w/index.php?

This page was last edited on 24 August 2020, at 21:34 (UTC).

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