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by Cherrie Moraga,Gloria Anzaldua
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History & Criticism
  • Author:
    Cherrie Moraga,Gloria Anzaldua
  • ISBN:
    0943219221
  • ISBN13:
    978-0943219226
  • Genre:
  • Publisher:
    Third Woman Press; 3rd edition (November 1, 2002)
  • Pages:
    370 pages
  • Subcategory:
    History & Criticism
  • Language:
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For the women in this book, I will lay my body down for that vision. This Bridge Called My Back

For the women in this book, I will lay my body down for that vision. This Bridge Called My Back. The same thing would likely happen if we extended the meaning of ‘women of color’ to include all those women in this country who are victims of prejudice and discriminatio. ut who nevertheless hold racial privileges and may even be racists.

for Elvira Moraga Lawrence and Amalia Garcia Anzaldua and tor all our mothers for the obedience and rebellion .

for Elvira Moraga Lawrence and Amalia Garcia Anzaldua and tor all our mothers for the obedience and rebellion they taught us. When Persephone Press, In. a white women's press of Watertown, Massachusetts and the original publishers of Bridge, ceased operation in the Spring of 1983, this book had already gone out of print. Three years later, I try to imagine the newcomer to Bridge.

First published in 1981 by Persephone Press.

Gloria Anzaldúa (1942–2004) was a poet, metaphysical philosopher, and scholar of Chicana cultural theory, feminist theory, and queer theory.

This Bridge Called My Bac. ispels all doubt about the power of a single text to radically transform the terrain of our theory and practice. Twenty years after its publication, we can now see how it helped to untether the production of knowledge from its disciplinary anchors―and not only in the field of women’s studies. Gloria Anzaldúa (1942–2004) was a poet, metaphysical philosopher, and scholar of Chicana cultural theory, feminist theory, and queer theory.

Cherríe Moraga, Gloria Anzaldúa

Cherríe Moraga, Gloria Anzaldúa. SUNY Press, 11‏/02‏/2015 - 334 من الصفحات. Originally released in 1981, This Bridge Called My Back is a testimony to women of color feminism as it emerged in the last quarter of the twentieth century. She is the author of many books, including A Xicana Codex of Changing Consciousness: Writings, and Loving in the War Years: Lo que nunca pasó por sus labios.

Cherríe Moraga, Gloria Anzaldúa. This groundbreaking collection reflects an uncompromised definition of feminism by women of color. 65,000 copies in print. She has taught Chicano studies, feminist studies, and writing at a number of universities. It combines prose and poetry, history, autobiography, and criticism in Spanish, English, as well as Tex-Mex and Nahautl.

Despite the book being aimed at women of colour, I believe it is a good book for all women to read.

One of her quotes was so beautiful: "Pen, I feel right at home in your ink doing a pirouette, stirring the cobwebs, leaving my signature on the windowpanes. Pen, how could I ever have feared you. You are quite housebroken but it's your wildness I am in love with. Despite the book being aimed at women of colour, I believe it is a good book for all women to read. Very educational and enlightening.

Get books you want by Cherríe L. Moraga · Gloria E. Anzaldúa · Toni Cade Bambara.

This Bridge Called My Back: Writings by Radical Women of Color. by Cherríe L. Seek what they sought. In "The Hungry Woman, " an apocalyptic play written at the end of the millennium, Moraga uses mythology and an intimate realism to describe the embattled position of Chicanos and Chicanas, not only in the United States but in relation to each other. Colonize This!: Young Women of Color on Today's Feminism.

This Bridge Called My Back - writings by radical women of color, is an anthology that two decades ago, called for 'a radical restructuring of this country' [ie the United States. as served as a significant rallying call for women of color for a generation, and this .

A much-cited text, its influence has been visible and broad both in academia and among activists. 5 1. What Our Readers Are Saying.

This Bridge Called My Back has served as a rallying call for women of color for a generation, and this new edition keeps that call alive at a time when divisions prove even more stubborn and dangerous. The new edition is further brought to life with the incorporation of visual art by seventeen noted women of color artists.

Perdana
Gloria Anzaldúa (1942-2004) also wrote/edited Borderlands / La Frontera: The New Mestiza,this bridge we call home: radical visions for transformation,Interviews/Entrevistas,Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color,The Reader, etc. Cherríe Lawrence Moraga is part of the faculty at Stanford University in the Department of Drama and Comparative Studies in Race and Ethnicity; she has also written books such as A Xicana Codex of Changing Consciousness: Writings, 2000-2010,Heroes and Saints and Other Plays,The Hungry Woman: The Hungry Woman: A Mexican Medea and Heart of the Earth: A Popul Vuh Story,Waiting in the Wings: Portrait of a Queer Motherhood,Loving in the War Years,Watsonville/Circle in the Dirt: Watsonville: Some Place Not Here and Circle in the Dirt: El Pueblo de East Palo Alto, etc.

Cherríe Moraga wrote in the Preface to this 1981 (2nd edition 1983) book, “This book is written for all the women in it and all whose lives our lives will touch. We are a family who first only knew each other in our dreams, who have come together on these pages to make faith a reality and to bring all of our selves to bear down hard on that reality. It is about physical and psychic struggle. It is about intimacy, a desire for life between all of us, not settling for less than freedom even in the most private aspects of our lives. A total vision. For the women in this book, I will lay my body down for that vision. ‘This Bridge Called My Back.’” (Pg. xix)

The titles of some of the writings in this anthology are: “Invisibility is an Unnatural Disaster: Reflections of an Asian American Woman”; “Gee, You Don’t Seem Like an Indian from the Reservation”; “I Don’t Understand Those Who have Turned Away from Me”; “The Pathology of Racism: A Conversation with Third World Wimmin”; Audre Lorde’s “An Open Letter to Mary Daly”; “Lesbianism: An Act of Resistance”; “I Paid Very Hard for My Immigrant Ignorance”; “who told you anybody wants to hear from you? you ain’t nothing but a black woman!”; :Chicana’s Feminist Literature: A Re-Vision through Malintzin/or Malintzin: Putting Flesh Back on the Object”; “A Black Feminist Statement”; Pat Parker’s “Revolution: It’s Not Neat or Pretty or Quick”; etc.

To give you a brief “taste” of the riches contained in this volume, here are a few quotations: “‘Alienation’ and ‘assimilation are two common words used to describe contemporary Indian people. I’ve come to despise those two words because what leads to ‘alienation’ and ‘assimilation’ should not be so concisely defined. And I generally distrust words that are used to define Native Americans and Brown People.” (Pg. 48) [Barbara Cameron]

“Often, I am asked questions like, ‘Is Argentina in Europe or Asia?’ or ‘Don’t you speak Portuguese down there?’ How can one feel guilt about screwing over someone/some country she knows nothing about?” (Pg. 80) [Judit Moschkovich]

“Although black and white feminists can sometimes work together for a common goal with warmth and support, and even love and respect each other occasionally, underneath there is still another message. That is that white feminists, like white boys and black boys, are threatened by us. Moreover, white feminists have a serious problem with truth and ‘accountability’ about how/why they perceive black wimmin as they do.” (Pg. 86) [Doris Davenport]

Audre Lorde said in her open letter to Mary Daly, “Mary, do you ever really read the work of black women? Did you ever read my words, or did you merely finger through them for quotations which you thought might valuably support an already-conceived idea concerning some old and distorted connection between us? This is not a theoretical question. To me this feels like another instance of the knowledge, crone-logy and work of women of color being ghettoized by a white woman dealing only out of a patriarchal western-european frame of reference…” (Pg. 95-96) She adds, “If white american feminist theory need not deal with the differences between us, and the resulting difference in aspects of our oppressions, then what do you do with the fact that the women who clean your houses and tend your children while you attend conferences on feminist theory are, for the most part, poor and third world women? What is the theory behind racist feminism?” (Pg. 100)

“What white lesbians have against lesbians of color is that they accuse us of being ‘male identified’ because we are concerned with issues that affect our whole race. They express anger at us for not seeing the light. That is another aspect of how they carry on their racism. They are so narrow and adamant about that that they dismiss lesbians of color and women of color who aren’t lesbians because we have some concern about what happens to the men of our race. And it’s not like we like their sexism or even want to sleep with them. You can certainly be concerned as we are living here this summer in Boston when one Black man after another ends up dead.” (Pg. 121-122) [Barbara Smith]

“Not all Third World women are ‘women of color’---If by this concept we mean exclusively ‘non-white.’ … And not all women of color are really Third World---if this term is only used in reference to underdeveloped or developing societies… Clearly then it would be difficult to justify referring to Japanese women, who are women of color, as Third World women. Yet, if we extend the concept of Third World to include internally ‘colonized’ racial and ethnic minority groups in this country, so many different kinds of groups could be conceivably included, that the crucial issue of social and institutional racism and its historical tie to slavery in the U.S. could get diluted, lost in the shuffle. The same thing would likely happen if we extended the meaning of ‘women of color’ to include all those women in this country who are victims of prejudice and discrimination … but who nevertheless hold racial privileges and may even be racists.” (Pg. 151) [Mirtha Quintanales]

“I am a wind-swayed bridge, a crossroads inhabited by whirlwinds. Gloria, the facilitator, Gloria the mediator, straddling the walls between abysses. ‘Your allegiance is to La Raza, the Chicano movement,’ say the members of my race. ‘Your allegiance is to the Third World,’ say my Black and Asian friends. ‘Your allegiance is to your gender, to women,’ say the feminists. Then there’s my allegiance to the Gay movement, to the socialist revolution, to the New Age, to magic and the occult. And there’s my affinity to literature, to the world of the artist. What am I? A third world lesbian feminist with Marxist and mystic leanings. They would chop me up into little fragments and tag each piece with a label.” (Pg. 205) [Gloria Anzaldúa]

“If the passage of the ERA means that I am going to become an equal participant in the exploitation of the world; that I am going to bear arms against other Third World people who are righting to reclaim what is rightfully theirs---then I say F___ the ERA.” (Pg. 240) [Pat Parker]

This collection (there is a newer edition, by the way) is absolutely indispensable for feminists, womanists, Third World women and women of color, the LGBT community, or just about anyone else who is interested in progressive ideas.
Vivaral
Gloria Anzaldúa (1942-2004) also wrote/edited Borderlands / La Frontera: The New Mestiza,this bridge we call home: radical visions for transformation,Interviews/Entrevistas,Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color,The Reader, etc. Cherríe Lawrence Moraga is part of the faculty at Stanford University in the Department of Drama and Comparative Studies in Race and Ethnicity; she has also written books such as A Xicana Codex of Changing Consciousness: Writings, 2000-2010,Heroes and Saints and Other Plays,The Hungry Woman: The Hungry Woman: A Mexican Medea and Heart of the Earth: A Popul Vuh Story,Waiting in the Wings: Portrait of a Queer Motherhood,Loving in the War Years,Watsonville/Circle in the Dirt: Watsonville: Some Place Not Here and Circle in the Dirt: El Pueblo de East Palo Alto, etc.

Cherríe Moraga wrote in the Preface to this 1981 (2nd edition 1983) book, “This book is written for all the women in it and all whose lives our lives will touch. We are a family who first only knew each other in our dreams, who have come together on these pages to make faith a reality and to bring all of our selves to bear down hard on that reality. It is about physical and psychic struggle. It is about intimacy, a desire for life between all of us, not settling for less than freedom even in the most private aspects of our lives. A total vision. For the women in this book, I will lay my body down for that vision. ‘This Bridge Called My Back.’” (Pg. xix)

The titles of some of the writings in this anthology are: “Invisibility is an Unnatural Disaster: Reflections of an Asian American Woman”; “Gee, You Don’t Seem Like an Indian from the Reservation”; “I Don’t Understand Those Who have Turned Away from Me”; “The Pathology of Racism: A Conversation with Third World Wimmin”; Audre Lorde’s “An Open Letter to Mary Daly”; “Lesbianism: An Act of Resistance”; “I Paid Very Hard for My Immigrant Ignorance”; “who told you anybody wants to hear from you? you ain’t nothing but a black woman!”; :Chicana’s Feminist Literature: A Re-Vision through Malintzin/or Malintzin: Putting Flesh Back on the Object”; “A Black Feminist Statement”; Pat Parker’s “Revolution: It’s Not Neat or Pretty or Quick”; etc.

To give you a brief “taste” of the riches contained in this volume, here are a few quotations: “‘Alienation’ and ‘assimilation are two common words used to describe contemporary Indian people. I’ve come to despise those two words because what leads to ‘alienation’ and ‘assimilation’ should not be so concisely defined. And I generally distrust words that are used to define Native Americans and Brown People.” (Pg. 48) [Barbara Cameron]

“Often, I am asked questions like, ‘Is Argentina in Europe or Asia?’ or ‘Don’t you speak Portuguese down there?’ How can one feel guilt about screwing over someone/some country she knows nothing about?” (Pg. 80) [Judit Moschkovich]

“Although black and white feminists can sometimes work together for a common goal with warmth and support, and even love and respect each other occasionally, underneath there is still another message. That is that white feminists, like white boys and black boys, are threatened by us. Moreover, white feminists have a serious problem with truth and ‘accountability’ about how/why they perceive black wimmin as they do.” (Pg. 86) [Doris Davenport]

Audre Lorde said in her open letter to Mary Daly, “Mary, do you ever really read the work of black women? Did you ever read my words, or did you merely finger through them for quotations which you thought might valuably support an already-conceived idea concerning some old and distorted connection between us? This is not a theoretical question. To me this feels like another instance of the knowledge, crone-logy and work of women of color being ghettoized by a white woman dealing only out of a patriarchal western-european frame of reference…” (Pg. 95-96) She adds, “If white american feminist theory need not deal with the differences between us, and the resulting difference in aspects of our oppressions, then what do you do with the fact that the women who clean your houses and tend your children while you attend conferences on feminist theory are, for the most part, poor and third world women? What is the theory behind racist feminism?” (Pg. 100)

“What white lesbians have against lesbians of color is that they accuse us of being ‘male identified’ because we are concerned with issues that affect our whole race. They express anger at us for not seeing the light. That is another aspect of how they carry on their racism. They are so narrow and adamant about that that they dismiss lesbians of color and women of color who aren’t lesbians because we have some concern about what happens to the men of our race. And it’s not like we like their sexism or even want to sleep with them. You can certainly be concerned as we are living here this summer in Boston when one Black man after another ends up dead.” (Pg. 121-122) [Barbara Smith]

“Not all Third World women are ‘women of color’---If by this concept we mean exclusively ‘non-white.’ … And not all women of color are really Third World---if this term is only used in reference to underdeveloped or developing societies… Clearly then it would be difficult to justify referring to Japanese women, who are women of color, as Third World women. Yet, if we extend the concept of Third World to include internally ‘colonized’ racial and ethnic minority groups in this country, so many different kinds of groups could be conceivably included, that the crucial issue of social and institutional racism and its historical tie to slavery in the U.S. could get diluted, lost in the shuffle. The same thing would likely happen if we extended the meaning of ‘women of color’ to include all those women in this country who are victims of prejudice and discrimination … but who nevertheless hold racial privileges and may even be racists.” (Pg. 151) [Mirtha Quintanales]

“I am a wind-swayed bridge, a crossroads inhabited by whirlwinds. Gloria, the facilitator, Gloria the mediator, straddling the walls between abysses. ‘Your allegiance is to La Raza, the Chicano movement,’ say the members of my race. ‘Your allegiance is to the Third World,’ say my Black and Asian friends. ‘Your allegiance is to your gender, to women,’ say the feminists. Then there’s my allegiance to the Gay movement, to the socialist revolution, to the New Age, to magic and the occult. And there’s my affinity to literature, to the world of the artist. What am I? A third world lesbian feminist with Marxist and mystic leanings. They would chop me up into little fragments and tag each piece with a label.” (Pg. 205) [Gloria Anzaldúa]

“If the passage of the ERA means that I am going to become an equal participant in the exploitation of the world; that I am going to bear arms against other Third World people who are righting to reclaim what is rightfully theirs---then I say F___ the ERA.” (Pg. 240) [Pat Parker]

This collection (there is a newer edition, by the way) is absolutely indispensable for feminists, womanists, Third World women and women of color, the LGBT community, or just about anyone else who is interested in progressive ideas.
Samugor
I needed a book for a workshop and this one fit the bill. I have a few books on my shelf that are related to the diversity struggle, but none dive into the topic of women and culture like this one. The voices are raw and full of pain and power. It is a must-have for anyone working in the field of diversity or living in a diverse world (yes, that means it is a must for everyone).
Nto
This collection is so brilliant and eye-opening. It provides insight into the individual lives of women under the demographics of sexual and racial minority. As a white, lower-middle-class woman, I haven't experienced the complex webs woven by the intersectionalities of oppression these writers face. By no means can these select women speak for all members of their ethnic/sexual/gender/etc. minorities, but this is an excellent piece of introduction to radical writing. On one last note, I'd like to stress that the reader consider the historic context these women were writing in. It is important to understand that in the 70's and 80's, women of various minorities were not given a share of the Second-Wave stage in the feminist and women's movements. (I would argue that we still shortchange these women even today.) Their words may come off as irrationally angry, blaming, or even hyperbolic; but if you imagine the silence these intelligent, artistic women had to endure for most of their lives, you can certainly sympathize with their heightened emotions.