By Ricardo F. Vivancos Pérez

Offering a transdisciplinary research of works through Gloria Anzaldúa, Cherríe Moraga, Ana Castillo, Emma Pérez, Alicia Gaspar de Alba, and Sandra Cisneros, this e-book explores how radical Chicanas take care of tensions that come up from their specialise in the physique, wish, and writing.

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Are they knowable— if so by what means, and how can we “prove” their existence? What is their origin? How many are there, and how do they form hierarchies and subclasses? Do they change or age or go through history? What sort of “body” do they have? How soon a psychology of archetypes begins to sound like a mythology of gods! (Hillman 36) These are questions that Chicana thinkers began incorporating into their search for emancipatory methodologies since the 1980s, and were added to more general ones in the construction of “Chicana” as a polycentric subject position: What is “Chicana”?

I suggest that the democratization implicit in Chicana poetics opens up broad avenues for non-Chicano participation under certain parameters, providing that the critic, as the reader of this book, engages in the shaping of Chicana poetics itself, and in its creative process of transformation. Part I Dangerous Bodies/Texts Juncture ● Polycentricity I n Part 4 of the prose section of Borderlands/La Frontera, the Aztec goddess Coatlicue is an archetype in the Jungian sense, a “presence” in the narrator’s psyche: “For me, la Coatlicue is the consuming internal whirlwind, the symbol of the underground aspects of the psyche” (Borderlands 68).

In the 1990s, when she enters the museum of Aztec culture as it has been dismembered by dominant ideologies, her political dis-identification as a Chicana artist is with Coyolxauhqui. 1). There is a first stage of “arrebato” (rapture)—notice the mystic vocabulary—“when something jerks you out of your normal, everyday activity self” (Lara 44). This arrebato puts you in a state of nepantla, “a transitional space” (Lara 44) that Anzaldúa identifies as the second stage (47). The third stage is “the Coatlicue state,” which is linked to a process that she calls, “Coyolxauhqui consciousness,” “a consciousness of the darkness, the underworld, the depression” (Lara 45).

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