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AnaLouise Keating
WSQ: Women’s Studies Quarterly 40: 3 & 4 (Fall/Winter 2012) © 2012 by AnaLouise Keating.
All rights reserved.
51
52 AnaLouise Keating
presumed turn away from material reality and our embodied flesh-and-
blood world.
In poet-shaman aesthetics, words do not simply point to this external-
ized material reality in some correspondence-type mode. Words neither
serve merely as a veil between ourselves and a more real (that is, more
tangibly material) world nor create our reality in some poststructuralist
approach (i.e., the “linguistic turn” I referred to above). My claim is far
more extreme: in poet-shaman aesthetics words have causal force; words
embody the world; words are matter; words become matter. As in sha-
manic worldviews and indigenous theories and practices—in which
words, images, and things are intimately interwoven and the intentional,
ritualized performance of specific, carefully selected words shifts reality—
poet-shaman aesthetics enables us to enact and concretize transformation.
Stories and metaphors are as real as dogs, cats, baseball bats, the idea of
God, nuclear fission, human beings, the chair you’re sitting on right now,
Buddhism, and bricks. LeAnn Howe makes a similar point:
I’m saying flat-out that speech acts create the world around us. And
those are primary, foundational. We can look at verbs and verb tenses,
especially in Choctaw, as a way of moving the mountain through the act
of speaking. That speech act is as powerful as number theory to nuclear
physics. Many non-Indians put all their faith in numbers, the power to
add them up to create or destroy. Natives, I think, on the other hand,
put our faith in speech. What is said. That’s why if you speak of death
to an individual or a thing, you make it happen. (Qtd. in Squint 2010,
219–20)
the cultural heritage of the past and the present everyday situations peo-
ple find themselves in. In retrospect I see that this was an unconscious
intention on my part in writing Borderlands/La Frontera.
To carry the poet-shaman analogy further, through my poet’s eye I
see “illness,” lo que daña, whatever is harmful in the cultural or indi-
vidual body. I see that “sickness” unbalances a person or a community.
That it may be in the form of disease, or disinformation/misinformation
perpetrated on women and people of color. I see that always it takes the
form of metaphors. (1990, 121–22; her emphasis)
sis with more immediate aspirations and speculations: What can we learn
from Anzaldúa’s process? How can we apply her bold claims to our own
work? Poet-shaman aesthetics is my initial answer to these questions.
As my refusal to engage head on in an extensive debate about critiques
of the “linguistic turn” indicates, I also hope to model a nonoppositional
approach to scholarly dialogue and critique.
I come from a state (Texas) that decimated every Indian group, including the
Mexican indigenous. I don’t look European, but I can’t say I’m Indian even
though I’m three quarters Indian. But the issue is much more complex than how
many drops of indigenous blood Indians and Chicanas have. I’ve always claimed
indigenous ancestry and connections, but I’ve never claimed a North American Indian
identity. I claim a mestizaje (mixed-blood, mixed culture) identity. In participating
in this dialogue. . . . I’m afraid that what I say may unwittingly contribute to the
misappropriation of Native cultures, that I (and other Chicanas) will inadvertently
contribute to the cultural erasure, silencing, invisibility, racial stereotyping, and
disenfranchisement of people who live in real Indian bodies. I’m afraid that Chicanas
may unknowingly help the dominant culture remove Indians from their specific
tribal identities and histories. Tengo miedo que, in pushing for mestizaje and a new
tribalism, I will “detribalize” them. . . . Yet I also feel it’s imperative that we participate
in this dialogue no matter how risky.
Gloria Anzaldúa, “Speaking Across the Divide”
Finally, because Anzaldúa (whose work has inspired and in many ways
exemplifies my theory of poet-shaman aesthetics) has been accused of
appropriating and oversimplifying Indigenous cultures,7 it’s important to
directly address both the limitations and the strengths in her references
to indigeneity. In several places in her early work, Anzaldúa did indeed
rely on stereotyped thinking about indigenous peoples. It’s important to
acknowledge this oversimplification, locate it historically in the trajectory
of her career, and develop a nuanced response to questions of appropria-
tion and misrepresentation: On the one hand, we can praise Anzaldúa for
accepting and calling heightened attention to the indio aspects of her iden-
tity at a time (in the 1970s and early 1980s) when many mexicanos, teja-
nas, and Mexican Americans were ashamed of and entirely denied their
indigenous ancestry. On the other hand, we can criticize her for offering
monolithic, overly simplistic representations of Native women. And, on
the third hand, we can appreciate her process and recognize her willingness
to acknowledge her intellectual shortcomings and educate herself about
Indigenous peoples, philosophies, and issues. As we see in Anzaldúa’s
unpublished research notes and in late essays such as “Speaking Across the
Divide” (2003), she worked to recognize, address, and move through and
beyond her own desconocimientos, or blank spots.8
Here’s a lesson for us all: Anzaldúa models a type of intellectual humil-
ity (and therefore vulnerability) that we can learn from, modify, and adopt
for ourselves. None of us is perfect or all-knowing. We all have descono-
cimientos—areas of ignorance, blank spots in our existing knowledge,
gaps with significant ethical implications. However, these educational
and intellectual limitations should not serve as an excuse to avoid explor-
58 AnaLouise Keating
ing additional areas of thought, for such avoidance simply reinforces the
existing system, the unjust status quo. We, too, should work to recognize
these blank spots; we should educate ourselves and move forward. And
we should do so with humility and respect. From the 1970s until the end
of her life, Anzaldúa viewed Indigenous thought as a vital source of wis-
dom for contemporary and future life on this planet and elsewhere. She
believed that Native philosophies offer crucial alternatives to conventional
western thought. As she explains in her writing notas, “We’ve come to the
time of a shift in consciousness when entire civilizations change the way
they know about the world. We need a new and better method of thinking
about the world. A new mental operation to improve the human condition.
We get hints from the alchemic and shamanistic traditions of the past.”
As the word “hints” suggests, Anzaldúa did not try to “recover” “authen-
tic” ancient teachings and simply insert them into twenty-first-century
life. Rather, she learned from and built on Indigenous insights; she mixed
these insights with other philosophies, crafting an epistemology, ontology,
metaphysics, and ethics designed to address contemporary needs. From
the mid-1970s until the end of her life, she researched Náhuatl, Mayan,
Celtic, and other Indigenous philosophies and shamanic traditions, along
with the I Ching, Tarot, Sabian Symbols, and additional diverse forms of
knowledge.9 She displayed desconocimientos and made mistakes along
the way, but these limitations did not lead her to abandon her commitment
to Indigenous cultures and knowledge systems: She worked to address her
desconocimientos; she pushed herself to continue her explorations.
You put your faith on this: that some mysterious ordering faculty ultimately refines
the piece or that the components of the piece, the symbols, attracts the necessary parts
and the whole rearranges itself, that writing is an alchemical process demanding
dissolution in order that the transmutation of images and emotions into words may
occur. If you’ve done your job, the reader will also undergo an alchemical process.
—Gloria Anzaldúa, “Putting Coyolxauhqui Together: A Creative Process”
What does it mean to describe writing and reading as “an alchemical pro-
cess”? While it seems only logical to interpret this section’s epigraph as
metaphoric description—as Anzaldúa’s attempt to underscore her belief
Speculative Realism, Visionary Pragmatism, & Poet-Shamanic Aesthetics 59
After reading this story, I had a remarkable dream: Like PQ, I, too, fell into
or merged with a solid wall. In one of the most vivid, real dreams of my
60 AnaLouise Keating
life, I morphed, from my unified, solid, embodied self into countless mov-
ing atoms, or molecules, or energy strands, or vibrations, or . . . I don’t
know what/who; and in this very different state I (or perhaps not-I?) slid
through or slipped into, or became (part of) a wall, an alternate space, a
void filled with mysterious . . . stuff . . . It was amazing. My words here can-
not even begin to encapsulate this strange experience. What can I say? In
my dream, I physically transformed—the matter/vibrations of my dream-
body changed. It was a little bit like Star Trek, when Spock, Kirk, and the
others are beamed from their ship to a planet . . . No . . . This description
is entirely inaccurate. How can I describe . . . such an indescribable event?
My language falls short. Years later, I still lack the words, so I’ll rely on the
story’s description:
and secondly with the projected reality of a text. . . . It is not another
world’s intrusion into this one, but a woman who has one foot in one
world while sticking her head and arm into another. It is a shamanic topo.
(Anzaldúa n.d.b; my emphasis)
our job well we may give others access to a language and images with
which they can articulate/express pain, confusion, joy, and other expe-
riences thus far experienced only on an inarticulated emotional level.
From our own and our people’s experiences, we will try to create images
and metaphors that will give us a handle on the numinous, a handle on
the faculty for self-healing, one that may cure the depressed spirit, the
frightened soul. (1990, 122)
in the interview with Weiland she states that “[s]pirit exists in every-
thing; therefore God, the divine, is in everything—in blacks as well as
whites, rapists as well as victims; it’s in the tree, the swamp, the sea. . . .
Some people call it ‘God;’ some call it the ‘creative force,’ whatever. It’s
in everything.”
Whether this spiritual-material essence “really” exists—and how
could we possibly prove its existence except, perhaps, by referring to
David Bohm [1996] or a few other twentieth-century physicists—is far
less important than the pragmatic, performative functions it serves in
Anzaldúa’s lifework. (Keating 2000, 204)
My job as an artist is to bear witness to what haunts us, to step back and attempt to
see the pattern in these events (personal and societal), and how we can repair el daño
(the damage) by using the imagination and its visions. I believe in the transformative
power and medicine of art.
—Gloria Anzaldúa, “Let us be the healing of the wound”
Acknowledgments
Earlier versions of various parts of this essay were presented at the 2010 El
Mundo Zurdo International Conference on the Life and Work of Gloria E.
Anzaldúa and the 2010 keynote for First Rhetoric Symposium, Colorado
State, Pueblo; thanks to Donna Souder and the wonderful students and
audience. Thanks also to Carrie McMaster for encouraging me to turn my
talk into an essay and to Carrie, Ann M. Burlein, Betsy Dahms, George
Hartley, Robin Henderson-Espinoza, Morgan O’Donnell, and Jackie Orr
for feedback on earlier versions of this essay. And, as always, thanks to Glo-
ria Anzaldúa y las espíritus for inspiration and guidance.
AnaLouise Keating, professor of women’s studies and director of the doctoral program
in women’s studies at Texas Woman’s University, specializes in U.S. women of colors,
multicultural theory, transformational pedagogies, queer theory, womanist spiritual
activism, and Gloria Anzaldúa. She is the author or editor of eight books, including,
most recently, Bridging: How and Why Gloria Anzaldúa’s Life and Work has Trans-
formed Our Own, (coedited with Gloria González-López), Teaching Transformation:
Transcultural Classroom Dialogues, and The Gloria Anzaldúa Reader. Her most recent
work focuses on womanist spiritual activism, transformational identity politics, and
invitational pedagogies.
Notes
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———. n.d.b. “Stories and Their Process.” Box 81, Folder 10. Gloria Evangelina
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———. 1999. “Putting Coyolxauhqui Together: A Creative Process.” In How We
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———. 2000. Interviews/Entrevistas. Ed. AnaLouise Keating. New York:
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———. 2002. “now let us shift . . . the path of conocimiento . . . inner work,
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———. 2003. “Speaking across the Divide.” In The Gloria Anzaldúa Reader
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