Karen Christian - Show and Tell: Identity as Performance in U.S. Latina o Fiction
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Show and Tell: Identity as Performance in U.S. Latina o Fiction
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What makes John Rechy a Chicano writer? To be Latino, must writing have a touch of magical realism? Can one talk of U.S. Latina/o identity, considering the diversity of the Latina/o experience? Through the analysis of nine recent Latino/a novels, Karen Christian answers these and other questions, thereby adding a fresh, bold voice to the anti-essentialist debate surrounding ethnic and gender identity. Christian melds the theory of performativity with the latest scholarship on ethnicity and ethnic literature to create a framework for viewing identity as a continuous process that cannot be reduced to static categories. Through their narrative performances, U.S. Latina/o writers and their characters move among communities and identities in an ongoing challenge to the notion of Latina/o essence. This study is also among the first to examine trends across the spectrum of cultures represented in U.S. Latina/o literaturefrom Chicano to Cuban to Puerto Rican to Dominican.Show and Tell is essential for any serious student of Latina/o literature and identity.
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Show and Tell : Identity As Performance in U.S. Latina/o Fiction
author
:
Christian, Karen.
publisher
:
University of New Mexico
isbn10 | asin
:
0826318312
print isbn13
:
9780826318312
ebook isbn13
:
9780585207490
language
:
English
subject
American fiction--Hispanic American authors--History and criticism, American fiction--20th century--History and criticism, Hispanic Americans--Intellectual life, Hispanic Americans in literature, Group identity in literature, Ethnic groups in literature.
publication date
:
1997
lcc
:
PS153.H56C47 1997eb
ddc
:
813/.509868
subject
:
American fiction--Hispanic American authors--History and criticism, American fiction--20th century--History and criticism, Hispanic Americans--Intellectual life, Hispanic Americans in literature, Group identity in literature, Ethnic groups in literature.
Page iii
Show and Tell
Identity as Performance in U.S. Latinalo Fiction
Karen Christian
University of New Mexico Press Albuquerque
Page iv
1997 by the University of New Mexico Press All rights reserved.
FIRST EDITION
Library of Congress Cataloging-in-Publication Data Christian, Karen, 1960 Show and tell: performing identity in U.S. Latina/o fiction / Karen Christian.1st ed. P. cm. Includes bibliographical references and index. ISBN 0-8263-1796-0. ISBN 0-8263-1831-2 (pbk.) 1. American fictionHispanic American authors History and criticism. 2. American fiction20th centuryHistory and criticism. 3.Hispanic AmericansIntellectual life. 4. Hispanic Americans in literature. 5. Group identity in literature. 6. Ethnic groups in literature. I. Title. PS153.H56C47 1997 813'.509868dC21 97-4875 CIP
For my mother, who was my first teacher; and my sister, who always listens
In memory of my father, who had most of the answers
Page v
Contents
Acknowledgments
vii
Preface: In Drag
ix
1 Between Standing Still and Moving: Reading U.S. Latina/o Identity
3
2 Invisible Chicanos: Gay and Lesbian Identities in the Fiction of Sheila Ortiz Taylor and John Rechy
25
3 Identity as Drag: Performing Gender and Cubanidad in The Mambo Kings Play Songs of Love and The Greatest Performance
55
4 Invention of the Ethnic Self in Latina Immigrant Fiction: The Line of the Sun and How the Garca Girls Lost Their Accents
89
5 The "Boom" in U.S. Latina/o Fiction: Performing Magical Realism in The Love Queen of the Amazon and So Far from God
121
Page vi
Conclusion: The Show Must Go On
149
Notes
153
Bibliography
177
Index
185
Page vii
Acknowledgments
I wish to express heartfelt thanks to all the friends and colleagues who directly or indirectly participated in this project. My deepest gratitude goes to Juan Bruce-Novoa, who introduced me to Chicana/o literature and helped me develop powerful tools with which to read and appreciate the works. Many of my ideas on cultural identity grew out of challenging discussions with the University of California Humanities Research Institute Minority Discourse Initiative. I am particularly grateful to Marta Snchez, Irit Rogoff, Jeff Belnap, Alycee Lane, and Elena Tajima Creef for thought-provoking conversations and perceptive suggestions for my work. I am greatly indebted to Linette Davis; without her fortuitous introduction to Judith Butler's work I would not have been able to produce this "performance." I also wish to thank Lillian Manzor, who provided me with exceptionally insightful criticisms and whose enthusiasm for Latina/o literature is an inspiration. At the University of Maryland, I have had the good fortune to work with Lzaro Lima, Michael Hors-well, and Virginia Bell; their encouragement and thoughtful comments were most helpful. I would like to express my sincere appreciation to Andrea Otez, my editor at the University of New Mexico Press, for her belief in the importance of this project, and to the two anonymous readers who made such insightful comments and suggestions.
Personal thanks go to Polly, for her love, support, and life-saving sense of humor; and to Phyllis and Reggie, for gently offering positive reinforcement. I owe my greatest debt of gratitude to Miguelcompanion and anchor, craftsman of the written word whose editorial comments and suggestions infuse the pages of this book.
Page ix
Preface: In Drag
In the Midwest, where I grew up, a conversation with a person you have just met usually begins with a brief exchange about the weather. In Los Angeles, where I attended graduate school, you "bond" with new acquaintances by commiserating about that day's traffic. In such conversations, these preliminaries are generally followed by a discussion of careers. I say that I'm a teacher; explaining what I teach, however, is a challenge when talking to someone not connected to academia. In some situations I simply add that I'm a Spanish professor at a university. If I'm feeling chatty, I'll mention that my area is Latin American literature, to which most people tend to react with something like, "Ah, Garca Mrquez ... magical realism ... Ah, yes." Only when I'm in the mood to go into a long-winded explanation do I describe my work more accurately: I specialize in U.S. Latina/o literature. This statement frequently confounds the person with whom I'm conversing; I've learned to quickly elaborate, "You know, works by Mexican-American writers, U.S. Cubans, that sort of thing.'' The dialogue often continues with a superficial discussion of
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