A theorist and feminist writer; Gloria Anzaldua’s works were of vital significance for the last two decades. Her work should be noted that it is now anthologized systematically in different compositions that reach different audiences on an annual basis. Her theory of Mestiza and borderland identifies the fuller theory of a culture which is different and broadly deployed in most disciplines and lecture halls. In most lecture halls across the state, most students read the chapters and excerpts from her Borderland text. Anzaldua’s work serves in a primarily essayist fashion. She explicitly shows that an individual’s act of writing assists the person in identifying and expressing his or her identity complexities. Anzaldua described her strong belief in the need for individuals to form coalitions in their different groups. My choice of Gloria Anzaldua’s literary works in her anthology of essays and poetry; Making Face, Making Soul: Haciendo Caras include: Borderlands/La Frontera, La conciencia de la Mestiza, The Homeland, Aztlan/El Otro Mexico, How to Tame a Wild Tongue and This Bridge Called My Back: Writings by Radical Women of Color. They are all arranged in order of significance. The first three literary works are some of Anzaldua’s best works and stand out from the other two. Anzaldua understood that individuals have diverse ideas and identity and that inter-sectionalism often creates conflicts between different people (Garci?a, 2006). Thesis Statement: Anzaldua understood and recognized the different ways that people use to oppress others, and the constituents that were overlapping their identity. Literary Works: Borderlands/La Frontera: One of Anzaldua’s outstanding works was Borderlands/La Frontera, which was published in the year 1987. Borderlands traces back to the personal and historical journey of people who are on the border between United States and Mexico. Additionally, it talks about the political, spiritual and the European socioeconomic impact that they have on conquering the indigenous and marginalized people on the borderland. All the contributors in Anzaldua’s works got affected by Anzaldua’s willingness to face her personal risks. Through Anzaldua’s acts and words, people learn to take risks on their own. These are the risks that form blurred boundaries and the identities challenge people’s ways of thinking (Anzaldua, 1987). By use of her words, she invites critics to engage with her theories and how they impacted on her life and work. In bridging, the contributors explore and discuss on Anzaldua’s spiritual and intellectual contributions of how new bridges are created through the community and diverse disciplines. The contributors and Anzaldua represented numerous generations of diverse ages of twenties to seventies. This connection among many people could be seen in Anzaldua herself. Anzaldua’s words have touched most of the contributors separately. Through this, each of the contributors had a personal transformation to enact similar transformations to other people. Anzaldua used words like nosotras; a word that represented a group’s identity and when divided into two words it affirms of the
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Literary Anthology: Name: Institution: Table of Contents Table of Contents 2 Introduction: 3 Literary Works: 4 Borderlands/La Frontera: 4 Homeland, Aztlan/El Otro Mexico 5 How to tame a wild Tongue 6 This Bridge Called My Back: 7 La conciencia de la Mestiza 7 Conclusion: 8 References: 10 Introduction: This essay anthology is an assortment of essays that are in Gloria Anzaldua’s collection; Making Face, Making Soul: Haciendo Caras…
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She insecurely grounded her greatest renowned book Borderlands/La Frontera: The New Mestiza on her lifecycle growing up on the Mexican-Texas margin and amalgamated her all-time approaches of communal and cultural downgrading into her works. Anzaldua was precisely born in the Rio Grande Valley of south Texas on 26th September 1942 to Urbano Anzaldua and Amalia Anzaldua nee Garcia.
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