This Bridge Called My Back, Fourth Edition: Writings by Radical Women of Color

Portada
Cherríe Moraga, Gloria Anzaldúa
SUNY Press, 2015 M02 11 - 334 páginas
Updated and expanded edition of the foundational text of women of color feminism.

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. Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, the complex confluence of identities race, class, gender, and sexuality systemic to women of color oppression and liberation.

Reissued here, nearly thirty-five years after its inception, the fourth edition contains an extensive new introduction by Moraga, along with a previously unpublished statement by Gloria Anzaldúa. The new edition also includes visual artists whose work was produced during the same period as Bridge, including Betye Saar, Ana Mendieta, and Yolanda López, as well as current contributor biographies. Bridge continues to reflect an evolving definition of feminism, one that can effectively adapt to, and help inform an understanding of the changing economic and social conditions of women of color in the United States and throughout the world.

Immense is my admiration for the ongoing dialogue and discourse on feminism, Indigenous feminism, the defining discussions in women of color movements and the broader movement. I have loved this book for thirty years, and am so pleased we have returned with our stories, words, and attributes to the growing and resilient movement. Winona LaDuke (Anishinaabe), Executive Director, Honor the Earth

Praise for the Third Edition

This Bridge Called My Back dispels 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. This Bridge has allowed us to define the promise of research on race, gender, class and sexuality as profoundly linked to collaboration and coalition-building. And perhaps most important, it has offered us strategies for transformative political practice that are as valid today as they were two decades ago. Angela Davis, University of California, Santa Cruz

This Bridge Called My Back has served as a significant rallying call for women of color for a generation, and this new edition keeps that call alive at a time when divisions prove ever more stubborn and dangerous. A much-cited text, its influence has been visible and broad both in academia and among activists. We owe much of the sound of our present voices to the brave scholars and feminists whose ideas and ideals crowd its pages. Shirley Geok-lin Lim, University of California, Santa Barbara

This book is a manifesto the 1981 declaration of a new politics US Third World Feminism. No great de-colonial writer, from Fanon, Shaarawi, Blackhawk, or Sartre, to Mountain Wolf Woman, de Beauvoir, Saussure, or Newton could have alone proclaimed this politic born of necessity. This politic denies no truths: its luminosities drive into and through our bodies. Writers and readers alike become shape-shifters, are invited to enter the shaman/witness state, to invoke power differently. US Third World Feminism requires a re-peopling: the creation of planetary citizen-warriors. This book is a guide that directs citizenry shadowed in hate, terror, suffering, disconnection, and pain toward the light of social justice, gender and erotic liberation, peace, and revolutionary love. This Bridge transits our dreams, and brings them to the real. Chela Sandoval, University of California, Santa Barbara
 

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Contenido

Artwork
xiii
Preface to the Fourth Edition
xv
Acts of Healing
xxvii
Foreword to the First Edition 1981
xxix
The Bridge Poem
xxxiii
Preface 1981
xxxv
Introduction 1981
xliii
The Roots of Our Radicalism
1
The Other Heritage
104
Last Letter From a Typical Unemployed Black Professional Woman
106
To Be Continued
109
A SistertoSister Dialogue
111
An Act of Resistance
126
Lowriding Through the Womens Movement
136
Letter to Ma
138
I Come with No Illusions
146

When I Was Growing Up
5
on not bein
7
For the Color of My Mother
10
I Am What I Am
12
Dreams of Violence
14
He Saw
16
Theory in the Flesh
17
Wonder Woman
20
La Güera
22
Reflections of an Asian American Woman
30
Its In My Blood My FaceMy Mothers Voice The Way I Sweat
36
Gee You Dont Seem Like An Indian From the Reservation
41
And Even Fidel Cant Change That
48
I Walk in the History of My People
53
Racism in the Womens Movement
55
And When You LeaveTake Your Pictures With You
60
Beyond the Cliffs of Abiquiu1
62
I Dont Understand Those Who Have Turned Away From Me
65
Asian Pacific American Women andFeminism
68
But I Know You American Woman
73
The Black BackUps
78
A Conversation with Third World Wimmin
81
Were All in the Same Boat
87
An Open Letter to Mary Daly
90
The Masters Tools Will Never Dismantle The Masters House
94
IV Between the Lines On Culture Class and Homophobia
99
On Culture Class and Homophobia
101
I Paid Very Hard for My Immigrant Ignorance
148
EarthLover Survivor Musician
155
The Third World Woman Writer
159
A Letter To Third World Women Writers1
163
Millicent Fredericks
173
Confetti of Voices on New Years Night A Letter to Myself
176
A Revision Through Malintzinor Malintzin Putting Flesh Back on the Object
181
Ceremony for Completing a Poetry Reading
190
The Vision
193
The Vision
195
Give Me Back
197
La Prieta
198
Combahee River Collective1
210
The Welder
219
OK Momma Who the Hell Am I?An Interview with Luisah Teish
221
Brownness1
232
Its Not Neat or Pretty or Quick
238
No Rock Scorns Me as Whore
243
Appendix
247
Afterword
249
Foreword to the Second Edition 1983
253
Foreword to the Second Edition 1983
255
Foreword to the Third Edition 2001
261
Biographies of Contributors
267
Biographies of the Original Contributors 1981
277
Credits
283
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Acerca del autor (2015)

A poet, playwright, and cultural activist, Cherríe Moraga is Artist in Residence in the Department of Theater and Performance Studies and in the Comparative Studies in Race and Ethnicity Program at Stanford University. She is the author of many books, including A Xicana Codex of Changing Consciousness: Writings, 2000 2010 and Loving in the War Years: Lo que nunca pasó por sus labios. Gloria Anzaldúa (1942 2004) was a poet, metaphysical philosopher, and scholar of Chicana cultural theory, feminist theory, and queer theory. Her books include Borderlands/La Frontera: The New Mestiza and The Gloria Anzaldúa Reader, a posthumously published collection of her work.

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