Offering a transdisciplinary analysis of works by Gloria Anzaldúa, Cherríe Moraga, Ana Castillo, Emma Pérez, Alicia Gaspar de Alba, and Sandra Cisneros, this book explores how radical Chicanas deal with tensions that arise from their focus on the body, desire, and writing.

"Vivancos Pérez's book, Radical Chicana Poetics, is a superb theoretical analysis of the works of several Mexican American women authors including such luminaries as G. Anzaldúa, C. Moraga, A. Castillo, E. Pérez, A. Gaspar de Alba, and S. Cisneros. Vivancos Pérez brilliantly explores how these writers posit through their splendidly written creative work new subjectivities and sexualities as well as challenge, subvert, and deconstruct older conceptualizations of Chicanas written in the early years of the Chicano Movement. Vivancos Pérez offers new and exciting perspectives on these writers and the reader will be greatly rewarded from the splendid insights articulated in the book." - María Herrera-Sobek, Associate Vice Chancellor for Diversity, Equity and Academic Policy, University of California Santa Barbara, USA

Autorentext
Ricardo F. Vivancos Pérez is Assistant Professor of Spanish and Latina/o Studies at George Mason University, USA.

Inhalt
Disclaimer, Captatio Malevolentiae, or Are Nos/otros Ready to Move On? A Note About Language and Terminology Introduction: Fearing the "Dangerous Beasts:" Radical Chicana Poetics PART I: DANGEROUS BODIES / TEXTS Juncture Polycentricity 1. Gloria Anzaldúa's Poetics: The Process of Writing Borderlands 2. Cherríe Moraga's 'Theory in the Flesh' and the Chicana Subject Juncture * Collective Creativity PART II: (RE)POSITIONINGS Juncture Nepantlism 3. The Nomadic Chicana Writer in Ana Castillo and Emma Pérez Juncture * Antiacademicism 4. Alicia Gaspar de Alba's Sor Juana as Symbolic Foremother PART III. Global Interventions Juncture * 'Compostura' 5. Weaving Texts and Selves in Sandra Cisneros's Caramelo Juncture ** Transdisciplinarity 6. The Juárez Murders, Chicana Poetics and Human Rights Discourse Epilogue: The Coyolxauhqui Imperative and the Critic