Gloria E.

Anzalda
Gloria Evangelina Anzalda (September 26, 1942 Sanchez, and Hedwig Gorski.
May 15, 2004) was a scholar of Chicana cultural theory, feminist theory, and queer theory. She loosely based
her best-known book, Borderlands/La Frontera: The New
Mestiza, on her life growing up on the Mexican-Texas 2 Career and writings
border and incorporated her lifelong feelings of social and
cultural marginalization into her work.
After obtaining a Bachelor of Arts in English from the
then Pan American University (now University of Texas
Rio Grande Valley), Anzalda worked as a preschool and
special education teacher. In 1977, she moved to Califor1 Early life
nia, where she supported herself through her writing, lectures, and occasional teaching stints about feminism, ChiAnzalda was born in the Rio Grande Valley of south cano studies, and creative writing at San Francisco State
Texas on September 26, 1942, to Urbano Anzalda and University, the University of California, Santa Cruz, and
Amalia Anzalda ne Garca. Gloria Anzaldas great- Florida Atlantic University, among other universities.
grandfather, Urbano Sr., once a precinct judge in Hidalgo
County, was the rst owner of the Jess Mara Ranch on She is perhaps most famous for coediting This Bridge
which she was born. Her mother grew up on an adjoining Called My Back: Writings by Radical Women of Color
ranch, Los Vergeles (the gardens), which was owned by (1981) with Cherre Moraga, editing Making Face, Makher family, and met and married Urbano Anzalda when ing Soul/Haciendo Caras: Creative and Critical Perspecboth were very young. Anzalda was a descendant of tives by Women of Color (1990), and coediting This
many of the prominent Spanish explorers and settlers to Bridge We Call Home: Radical Visions for Transformacome to the Americas in the sixteenth and seventeenth tion (2002). She also wrote the semi-autobiographical
centuries, as well as of indigenous descent. The surname Borderlands/La Frontera: The New Mestiza (1987). She
was close to completing the book manuscript, Light in the
Anzalda is of Basque(Spanish) origin.
Dark/Luz en lo Oscuro: Rewriting Identity, Sprituality, ReAnzalda began menstruating when she was only three
ality, which she also planned to submit as her dissertation.
years old, a symptom of the endocrine condition that It has now been published posthumously by Duke Unicaused her to stop growing physically at the age of
versity Press (2015). Her childrens books include Pritwelve.[1] As a child, she would wear special girdles fash- etita Has a Friend (1991), Friends from the Other Side
ioned for her by her mother in order to disguise her pre- Amigos del Otro Lado (1993), and Prietita y La Llorona
cocious sexual development. Her mother would also en- (1996). She has also authored many ctional and poetic
sure that a cloth was placed in Anzaldas underwear as a works. Her works weave English and Spanish together
child in case of bleeding. Anzalda remembers, I'd take as one language, an idea stemming from her theory of
[the bloody cloths] out into this shed, wash them out, and borderlands identity. Her autobiographical essay, La
hang them really low on a cactus so nobody would see Prieta, was published in (mostly) English in This Bridge
them.... My genitals...[were] always a smelly place that Called My Back, and in (mostly) Spanish in Esta puente,
dripped blood and had to be hidden. She eventually un- mi espalda: Voces de mujeres tercermundistas en los Esderwent a hysterectomy to deal with uterine, cervical, and tados Unidos. In her writing, Anzalda uses a unique
ovarian abnormalities.[2] Reecting upon her illness, she blend of eight dialects, two variations of English and six
announced: I was born a queer."[1]
of Spanish. In many ways, by writing in Spanglish, AnWhen she was eleven, her family relocated to Hargill, zalda creates a daunting task for the non-bilingual reader
Texas.[3] Despite feeling discriminated against as a sixth- to decipher the full meaning of the text. However, there is
generation Tejana and as a female, and despite the death irony in the mainstream readers feeling of frustration and
of her father from a car accident when she was four- irritation. These are the very emotions Anzalda dealt
teen, Anzalda still obtained her college education. In with throughout her life, as she struggled to communicate
1968, she received a B.A. in English, Art, and Secondary in a country where she felt as a non-English speaker she
Education from Pan American University, and an M.A. was shunned and punished. Language, clearly one of the
in English and Education from the University of Texas borders Anzalda addressed, is an essential feature to her
at Austin. While in Austin, she joined politically ac- writing. Her book is dedicated to being proud of ones
tive cultural poets and radical dramatists such as Ricardo heritage and to recognizing the many dimensions of her
1

2 CAREER AND WRITINGS

culture.[3]
She made contributions to ideas of feminism and contributed to the eld of cultural theory/Chicana and queer
theory.[4] One of her major contributions was her introduction to United States academic audiences of the
term mestizaje, meaning a state of being beyond binary
(either-or) conception, into academic writing and discussion. In her theoretical works, Anzalda called for
a new mestiza, which she described as an individual
aware of her conicting and meshing identities and uses
these new angles of vision to challenge binary thinking in the Western world. She points out that having to
identify as a certain, labelled, sex can be detrimental to
ones creativity as well as how seriously people take you
as a producer of consumable goods.[5] The new mestiza
way of thinking is illustrated in postcolonial feminism. In
the same way that Anzalda felt she could not be classied as only part of one race or the other, she felt that
she possessed a multi-sexuality. When growing up, Anzalda expressed that she felt an intense sexuality towards her own father, to animals and even to trees. She
was attracted to and later had relationships with both men
and women.[2]
While race normally divides people, Anzalda called for
people of dierent races to confront their fears in order to move forward into a world that is less hateful and
more useful. In La Conciencia de la Mestiza: Towards a
New Consciousness, a text often used in womens studies courses, Anzalda insisted that separatism invoked by
Chicanos/Chicanas is not furthering the cause, but instead keeping the same racial division in place. Many of
Anzaldas works challenge the status quo of the movements in which she was involved. She challenged these
movements in an eort to make real change happen to
the world, rather than to specic groups. Scholar Ivy
Schweitzer writes, her theorizing of a new borderlands
or mestiza consciousness helped jump start fresh investigations in several elds -- feminist, Americanist [and]
postcolonial.[6]
Anzalda wrote a speech called Speaking in Tongues: A
Letter to Third World Women Writers, focusing on the
shift towards an equal and just gender representation in
literature, but away from racial and cultural issues due to
the rise of female writers and theorists. She also stressed
in her essay the power of writing to create a world which
would compensate for what the real world does not oer
us.[7]

2.1

This Bridge Called My Back: La Prieta

Anzaldas essay '"La Prieta deals with her manifestation of thoughts and horrors that have constituted her life
in Texas. Anzalda identies herself as an entity without
a gurative home and/or peoples to completely relate to.
To supplement this deciency, Anzalda created her own
sanctuary, Mundo Zurdo, whereby her personality tran-

scends the norm-based lines of relating to a certain group.

Instead, in her Mundo Zurdo, she is like a "Shiva, a manyarmed and legged body with one foot on brown soil, one
on white, one in straight society, one in the gay world, the
mans world, the womens, one limb in the literary world,
another in the working class, the socialist, and the occult
worlds.[8] This passage perfectly describes the identity
battles which the author has had to engage in throughout
her life, because of the numerous identity conicts that
have manifested over time. Since early childhood, Anzalda has had to deal with the shame of being a woman
of color. From the beginnings she was exposed to her
own peoples, to her own familys racism and fear of
women and sexuality.[9] Her familys internal racism immediately cast her as the other because of their bias that
being white and fair-skinned means prestige and royalty,
when color subjects one to being almost the scum of society (just as her mother had complained about her prieta
dating a mojado from Peru). The household she grew up
in is almost a stereotypical Chicano family, in which the
male gure was the authoritarian head, while the female,
the mother, was stuck in all the biases of this paradigm.
Although Anzalda acknowledges the dicult position
which white, patriarchal society has cast women of color,
gays and lesbians, she does not make them to be the arch
enemy, because she identies that casting stones is not
the solution[10] and that racism and sexism does not just
come from the whites, but from people of color as well.
Throughout her life, the inner racism and sexism from
her childhood would haunt her, as often she was asked to
choose her loyalties, whether it be to women, to people
of color, or to gays/lesbians. Her analogy to Shiva is welltted, as she decides to go against these conventions and
enter her own world: Mundo Zurdo, which allows the self
to go deeper, to transcend the lines of convention and, at
the same time, to recreate the self and the society. This
is for Anzalda a form of religion, one that allows the self
to deal with the injustices that society throws at it and to
come out a better person, a more reasonable person.

2.2

Borderlands/La Frontera:
Mestiza

The New

Anzalda is highly known for this semi-autobiographical

book which discusses her life growing up on the MexicanTexas border. It was selected as one of the 38 best books
of 1987 by Literary Journal. Borderlands examines the
condition of women in Chicano and Latino culture. Anzalda discusses several critical issues related to Chicana
experiences: heteronormativity, colonialism, and male
dominance. She gives a very personal account of the oppression of Chicana lesbians and talks about the gendered
expectations of behavior that normalizes womens deference to male authority in her community. She develops
the idea of the new mestiza as a new higher consciousness that will break down barriers and ght against the
male/female dualistic norms of gender. The rst half of

3
the book is a series of essays, which feature a view into
a life of isolation and loneliness in the borderlands between cultures. The latter half of the book is poetry. In
the book, Anzalda uses two variations of English and
six variations of Spanish. By doing this, she deliberately
makes it dicult for non-bilinguals to read without being
frustrated, so that they can better understand the frustrating life she grew up in. Language was one of the barriers
Anzalda dealt with as a child, and she wanted readers to
understand how frustrating things are when there are language barriers. This book was written as an outlet for her
anger and encourages one to be proud of ones heritage
and culture.[11]

Spirituality

Anzalda described herself as a very spiritual person and

stated that she experienced four out-of-body experiences
during her lifetime. In many of her works she referred
to her devotion to la Virgen de Guadalupe (Our Lady of
Guadalupe), Nahuatl/Toltec divinities, and to the Yoruba
orishs Yemay and Oshn. In 1993, she expressed regret that scholars had largely ignored the unsafe spiritual aspects of Borderlands, bemoaning the resistance to
such an important part of her work.[2] In her later writings, she developed the concepts of spiritual activism and
nepantleras to describe the ways contemporary social actors can combine spirituality with politics to enact revolutionary change.

Linguistic terrorism

Anzalda felt very strongly about the connection between

language and identity. She was very angry at people who
gave up their native language in order to conform to the
society they were in. She believed that if people got
criticized for their accents and stuck to it anyway they
were strong individuals. Anzalda was often scolded for
her improper Spanish accent and she believes this was
a strong aspect to her heritage; therefore, she labels the
qualitative labeling of language linguistic terrorism.[12]
She spent a lot of time promoting acceptance of all languages and accents.[13] In an eort to expose her stance
on linguistics and labels, Anzalda explained that While
I advocate putting Chicana, tejana, working-class, dykefeminist poet, writer theorist in front of my name, I do
so for reasons dierent than those of the dominant culture...so that the Chicana and lesbian and all the other
persons in me don't get erased, omitted, or killed.[14]

Awards

ings by Radical Women of Color[15]

Lambda Lesbian Small Book Press Award
(1991)[16]
Lesbian Rights Award (1991)[17]
Sappho Award of Distinction (1992)[17]
National Endowment for the Arts Fiction Award
(1991)[18]
American Studies Association Lifetime Achievement Award (Bode-Pearson Prize - 2001).[19]
Additionally, her work Borderlands/La Frontera: The
New Mestiza was recognized as one of the 38 best books
of 1987 by Library Journal and 100 Best Books of the
Century by both Hungry Mind Review and Utne Reader.
In 2012, she was listed as one of the 31 LGBT history
icons by the organisers of LGBT History Month.[20]

6 Death
Anzalda died on May 15, 2004, at her home in Santa
Cruz, California, from complications due to diabetes. At
the time of her death, she was working toward the completion of her dissertation to receive her doctorate in Literature from the University of California, Santa Cruz.[21]
It was awarded posthumously in 2005.
Several institutions now oer awards in memory of Anzalda.
The Chicana/o Latina/o Research Center (CLRC) at
University of California, Santa Cruz oers the annual
Gloria E. Anzalda Distinguished Lecture Award and The
Gloria E. Anzalda Award for Independent Scholars and
Contingent Faculty is oered annually by the American
Studies Association. The latter "...honors Anzaldas outstanding career as an independent scholar and her labor as contingent faculty, along with her groundbreaking contributions to scholarship on women of color and
to queer theory. The award includes a lifetime membership in the ASA, a lifetime electronic subscription to
American Quarterly, ve years access to the electronic library resources at the University of Texas at Austin, and
$500.[22]
In 2007, two years after Gloria Anzladas death, the
Society for the Study of Gloria Anzalda (SSGA) was
established to gather scholars and community members
who continue to engage Anzaldas work. The SSGA
co-sponsors a conference - El Mundo Zurdo - every 18
months.[23]

The Gloria E. Anzalda Poetry Prize is awarded annually,

in conjunction with the Anzalda Literary Trust, to a poet
Before Columbus Foundation American Book whose work explores how place shapes identity, imagiAward (1986) - This Bridge Called My Back: Writ- nation, and understanding. Special attention is given to

10

poems that exhibit multiple vectors of thinking: artistic,

theoretical, and social, which is to say, political. First
place is publication by Newfound, including 25 contributor copies, and a $500 prize.[24]

Archives

Anzaldas published and unpublished manuscripts,

among other archival resources, form part of the Benson Latin American Collection at the University of Texas
at Austin. Anzalda also maintained a collection of gurines, masks, rattles, candles, and other ephemera used
as altar (altares) objects at her home in Santa Cruz, California. These altares were an integral part of her spiritual
life and creative process as a writer.[25] The collection is
presently housed by the Special Collections department
of the University Library at the University of California,
Santa Cruz.

Works
This Bridge Called My Back: Writings by Radical Women of Color (1981), New edition: Third
Women Press, 2001. ISBN 0-943219-22-1
Borderlands/La Frontera: The New Mestiza (1987),
Aunt Lute Books. ISBN 1-879960-12-5
Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color,
Aunt Lute Books (1990). ISBN 1-879960-10-9

REFERENCES

9 See also
Xicana literature

10 References
[1] Gloria Anzalda, La Prieta, The Gloria Anzalda
Reader, ed. AnaLouise Keating, Duke University Press,
2009, p. 39.
[2] Anzalda, Gloria with AnaLouise Keating.
views/Entrevistas. New York: Routledge, 2000.

Inter-

[3] Gloria Anzalda: Voices From the Gaps. University of

Minnesota
[4] Chicana Feminism - Theory and Issues.
[5] Gloria Anzalda, To(o) Queer the WriterLoca, escritoria y chicana, Invasions; writings by Queers, Dykes
and Lesbians, 1994
[6] Schweitzer, Ivy (Jan 2006). For Gloria Anzalda: Collecting America, Performing Friendship. PMLA 121 (1,
Special Topic: The History of the Book and the Idea of
Literature): 285291. doi:10.1632/003081206x129774.
[7] Keating (ed.), The Gloria Anzalda Reader (2009), pp.
26-36.
[8] (205)
[9] (198)
[10] (207)
[11] Gloria Anzalda: BiographyCriticism

Interviews/Entrevistas (2000). ISBN 0-415-925037

[12] What is Linguistic Terrorism?, The Gloria E. Anzalda

Foundation

This Bridge We Call Home: Radical Visions for

Transformation (2002). ISBN 0-415-93682-9

[13] About Gloria, The Gloria E. Anzalda Foundation

The Gloria Anzalda Reader, edited by AnaLouise

Keating. Duke University Press (2009). ISBN 9780-8223-4564-0
Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Sprituality, Reality. Duke University Press
(2015). ISBN 978-0-8223-6009-4

8.1

Childrens books

Prietita Has a Friend (1991)

Friends from the Other Side/Amigos del Otro Lado
(1995)

[14] Anzalda, G. (1998). To(o) Queer the WriterLoca,

escritora y chicana. In C. Trujillo (Ed.), Living Chicana
Theory (pp. 264). San Antonio, TX: Third Woman Press.
[15] American Booksellers Association (2013). The American Book Awards / Before Columbus Foundation [1980
2012]". BookWeb. Archived from the original on March
13, 2013. Retrieved September 25, 2013. 1986 [...] A
Bridge Called My Back: Writings by Radical Women of
Color, edited by Cherrie Moraga and Gloria Anzaldua
[16] Book Awards - Lambda Literary Awards
[17] Day, Frances Ann (2003). Gloria Anzalda. Latina
and Latino Voices in Literature: Lives and Works. Westport, Connecticut: Greenwood. p. 80. ISBN 978-0-31332394-2.
[18] NEA_lit_mech_blue.indd

Prietita y La Llorona (1996)

[19] ASA Awards and Prizes | American Studies Association

la fea (1958)

[20] Gloria Andzaldua biography. LGBT History Month.

[21] Classes without Quizzes

[22] The Gloria E. Anzalda Award for Independent Scholars
and Contingent Faculty 2010 | American Studies Association.
[23] Society for the Study of Gloria Anzalda. About the
SSGA. Retrieved 30 May 2014.
[24] Gloria E. Anzalda Poetry Prize. Retrieved 7 February
2015.
[25] Cited in the Biography section of the UCSC nding aid.

11

Bibliography

Adams, Kate. Northamerican Silences: History,

Identity, and Witness in the Poetry of Gloria Anzalda, Cherre Moraga, and Leslie Marmon Silko.
Eds. Elaine Hedges and Shelley Fisher Fishkin. Listening to Silences: New Essays in Feminist Criticism.
NY: Oxford UP, 1994. 130-145. Print.
Alarcn, Norma. Anzaldas Frontera: Inscribing
Gynetics. Eds. Smadar Lavie and Ted Swedenburg.
Displacement, Diaspora, and Geographies of Identity. Durham: Duke UP, 1996. 41-52. Print
Alco, Linda Martn. The Unassimilated Theorist. PMLA 121.1 (2006): 255-259 JSTOR. Web.
21 Aug 2012.
Almeida, Sandra Regina Goulart. Bodily Encounters: Gloria Anzaldas Borderlands / La Frontera.
Ilha do Desterro: A Journal of Language and Literature 39 (2000): 113-123. Web. 21 Aug 2012.
Anzalda, Gloria E., 2003. La Conciencia de la
Mestiza: Towards a New Consciousness, pp. 179
87, in Carole R. McCann and Seung-Kyung Kim
(eds), Feminist Theory Reader: Local and Global
Perspectives, New York: Routledge.
Bacchetta, Paola. Transnational Borderlands. Gloria Anzaldas Epistemologies of Resistance and
Lesbians of Color in Paris. In El Mundo Zurdo:
Selected Works from the Society for the Study of
Gloria Anzalda 2007 to 2009, edited by Norma
Cantu, Christina L. Gutierrez, Norma Alarcn and
Rita E. Urquijo-Ruiz, 109-128. San Francisco:
Aunt Lute, 2010.
Barnard, Ian. Gloria Anzaldas Queer Mestizaje.
MELUS 22.1 (1997): 35-53 JSTOR. Web. 21 Aug
2012.
Blend, Benay. Because I Am in All Cultures
at the Same Time: Intersections of Gloria Anzaldas Concept of Mestizaje in the Writings of
Latin-American Jewish Women. Postcolonial Text
2.3 (2006): 1-13. Web. 21 Aug 2012.

Keating, AnaLouise, and Gloria Gonzalez-Lopez,

eds. Bridging: How Gloria Anzalduas Life and
Work Transformed Our Own (University of Texas
Press; 2011), 276 pp.
Bornstein-Gmez, Miriam. Gloria Anzalda: Borders of Knowledge and (re)Signication. Conuencia 26.1 (2010): 46-55 EBSCO Host. Web. 21 Aug
2012.
Capetillo-Ponce, Jorge. Exploring Gloria Anzaldas methodology in Borderlands / La Frontera:
The New Mestiza.Human Architecture: Journal of
the Sociology of Self-Knowledge 4.3 (2006): 87-94
Scholarworks UMB. Web 21 Aug 2012.
Castillo, Debra A.. Anzalda and Transnational
American Studies. PMLA 121.1 (2006): 260-265
JSTOR. Web. 21 Aug 2012.
David, Temperance K. Killing to Create: Gloria
Anzaldas Artistic Solution to Cervicide Intersections Online 10.1 (2009): 330-40. WAU Libraries.
Web. 9 July 2012.
Donadey, Anne. Overlapping and Interlocking
Frames for Humanities Literary Studies: Assia Djebar, Tsitsi Dangarembga, Gloria Anzalda. College
Literature 34.4 (2007): 22-42 JSTOR. Web. 21 Aug
2012.
Enslen, Joshua Alma. Feminist prophecy: a Hypothetical Look into Gloria Anzaldas La Conciencia de la Mestiza: Towards a new Consciousness
and Sara Ruddicks Maternal Thinking. LL Journal 1.1 (2006): 53-61 OJS. Web. 21 Aug 2012.
Fishkin, Shelley Fisher. Crossroads of Cultures: The Transnational Turn in American Studies-Presidential Address to the American Studies Association, November 12, 2004. American Quarterly
57.1 (2005): 17-57. Project Muse. Web. 10 Feb
2010.
Friedman, Susan Stanford. Mappings: Feminism
and the Cultural Geographies of Encounter. Princeton, NJ: Princeton UP, 1998. Print.
Hartley, George. Matriz Sin Tumba: The Trash
Goddess and the Healing Matrix of Gloria Anzaldas Reclaimed Womb. MELUS 35.3 (2010):
41-61 Project Muse. Web. 21 Aug 2012.
Hedges, Elaine and Shelley Fisher Fishkin eds. Listening to Silences: New Essays in Feminist Criticism.
NY: Oxford UP, 1994. Print.
Hedley, Jane. Nepantilist Poetics: Narrative and
Cultural Identity in the Mixed-Language Writings
of Irena Klepsz and Gloria Anzalda. Narrative
4.1 (1996): 36-54 JSTOR. Web. 21 Aug 2012.

12
Herrera-Sobek, Mara. Gloria Anzalda: Place,
Race, Language, and Sexuality in the Magic Valley.
PMLA 121.1 (2006): 266-271 JSTOR Web. 21 Aug
2012.
Hilton, Liam. Peripherealities: Porous Bodies;
Porous Borders: The Crisis of the Transient in a
Borderland of Lost Ghosts. Graduate Journal of
Social Science 8.2 (2011): 97-113. Web. 21 Aug
2012.
Keating,
AnaLouise,
ed.
EntreMundos/AmongWorlds: New Perspectives on Gloria
Anzalda. New York: Palgrave MacMillan, 2005.

EXTERNAL LINKS

Rebolledo, Tey Diana. Prietita y el Otro Lado:

Gloria Anzaldas Literature for Children. PMLA
121.1 (2006): 279-784 JSTOR. Web. 3 April 2012.
Reuman, Ann E. Coming Into Play: An Interview
with Gloria Anzaldua p. 3, in MELUS; Summer
2000, Vol. 25, Issue 2.
Saldvar-Hull, Sonia. Feminism on the Border:
From Gender Politics to Geopolitics. Criticism in
the Borderlands: Studies in Chicano Literature, Culture, and Ideology. Eds. Hctor Caldern and
JosDavid Saldvar. Durham: Duke UP, 1991.
203-220. Print.

Keating, AnaLouise. Women Reading, Women

Writing: Self-Invention in Paula Gunn Allen, Gloria
Anzalda and Audre Lorde. Philadelphia: Temple
University Press, 1996.

Schweitzer, Ivy. For Gloria Anzalda: Collecting America, Performing Friendship. PMLA 121.1
(2006): 285-291 JSTOR. Web. 21 Aug 2012.

Lavie, Smadar and Ted Swedenburg eds. Displacement, Diaspora, and Geographies of Identity.
Durham: Duke UP, 1996. Print.

Smith, Sidonie. Subjectivity, Identity, and the Body:

Womens Autobiographical Practices in the Twentieth
Century. Bloomington, IN: IN UP, 1993. Print.

Lavie, Smadar. Staying Put: Crossing the Israel

Palestine Border with Gloria Anzalda. Anthropology and Humanism Quarterly, June 2011, Vol. 36,
Issue 1. This article won the American Studies Associations 2009 Gloria E. Anzalda Award for Independent Scholars.

Solis Ybarra, Priscilla. Borderlands as Bioregion: Jovita Gonzlez, Gloria Anzalda, and the
Twentieth-Century Ecological Revolution in the Rio
Grande Valley. MELUS 34.2 (2009): 175-189 JSTOR. Web. 21 Aug 2012.

Mack-Canty, Colleen. Third-Wave Feminism and

the Need to Reweave the Nature/Culture Duality
pp. 15479, in NWSA Journal, Fall 2004, Vol. 16,
Issue 3.
Lioi, Anthony. The Best-Loved Bones: Spirit and
History in Anzaldas Entering into the Serpent.
Feminist Studies 34.1/2 (2008): 73-98 JSTOR. Web.
27 Aug 2012.
Lugones, Mara. On Borderlands / La Frontera:
An Interpretive Essay. Hypatia 7.4 (1992): 31-37
JSTOR. Web. 21 Aug 2012.
Martinez, Teresa A.. Making Oppostional Culture, Making Standpoint: A Journey into Gloria
Anzaldas Borderlands. Sociological Spectrum 25
(2005): 539-570 Tayor & Francis. Web. 21 Aug
2012.
Negrn-Muntaner, Frances. Bridging Islands:
Gloria Anzalda and the Caribbean. PMLA 121,1
(2006): 272-278 MLA. Web. 21 Aug 2012.
Prez, Emma. Gloria Anzalda: La Gran Nueva
Mestiza Theorist, Writer, Activist-Scholar pp. 1
10, in NWSA Journal; Summer 2005, Vol. 17, Issue
2.
Ramlow, Todd R.. Bodies in the Borderlands:
Gloria Anzalda and David Wojnarowiczs Mobility
Machines. MELUS 31.3 (2006): 169-187 JSTOR.
Web. 21 Aug 2012.

Stone, Martha E. Gloria Anzalda pp. 1, 9, in Gay

& Lesbian Review Worldwide; January/February
2005, Vol. 12, Issue 1.
Vargas-Monroy, Liliana. Knowledge from the Borderlands: Revisiting the Paradigmatic Mestiza of
Gloria Anzalda. Feminism and Psychology 22.2
(2011): 261-270 SAGE. Web. 24 Aug 2012.
Vivancos Perez, Ricardo F. Radical Chicana Poetics.
London and New York: Palgrave Macmillan, 2013.
Ward, Thomas. Gloria Anzalda y la lucha fronteriza, in Resistencia cultural: La nacin en el ensayo
de las Amricas, Lima, 2004, pp. 33642.
Yarbro-Bejarano, Yvonne. Gloria Anzaldas Borderlands / La Frontera: Cultural Studies, Dierence and the Non-Unitary Subject. Cultural Critique 28 (1994): 5-28 JSTOR. Web. 21 Aug 2012.

12 External links
Quotations related to Gloria E. Anzalda at Wikiquote
Voices from the Gaps biography
San Francisco Chronicle Obituary for Gloria Anzalda
Society for the Study of Gloria Anzaldua

7
Gloria Anzaldua Legacy Project - MySpace
Finding aid for the Gloria Evangelina Anzalda Papers, 1942-2004
Finding aid for the Gloria Anzalda Altares Collection
La prieta, ensayo autobiogrco, de la antologa
Esta puente, mi espalda
Some of Anzalduas work has been translated into
French by Paola Bacchetta and Jules Falquet in a
special issue of the French journal Cahiers du CEDREF on Decolonial Feminist and Queer Theories: Ch/Xicana and U.S. Latina Interventions that
they co-edited with Norma Alarcon; available at Les
Cahiers du CEDREF.

13

13
13.1

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Gloria E. Anzalda Source: https://en.wikipedia.org/wiki/Gloria_E._Anzald%C3%BAa?oldid=666144635 Contributors: William Avery,

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File:Flag_of_the_Hispanicity.svg Source: https://upload.wikimedia.org/wikipedia/commons/9/91/Flag_of_the_Hispanicity.svg License: CC BY-SA 3.0 Contributors: Own work Original artist: Rastrojo DES \
File:Signature,_autograph,_Gloria_Anzalda,_1987.svg Source: https://upload.wikimedia.org/wikipedia/commons/d/d1/Signature%
2C_autograph%2C_Gloria_Anzald%C3%BAa%2C_1987.svg License: CC BY-SA 3.0 Contributors: Own work Original artist: Theanti1

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