Ivy Schweitzer_For Gloria Anzaldúa - Collecting America, Performing Friendship

8/11/2019 Ivy Schweitzer_For Gloria Anzalda - Collecting America, Performing Friendship

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For Gloria Anzalda: Collecting America, Performing FriendshipAuthor(s): Ivy SchweitzerSource: PMLA, Vol. 121, No. 1, Special Topic: The History of the Book and the Idea ofLiterature (Jan., 2006), pp. 285-291Published by: Modern Language AssociationStable URL: http://www.jstor.org/stable/25486307 .Accessed: 28/05/2014 22:36

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12 1.1

theories andmethodologies

ForGloria Anzaldua:

Collecting America,Performing riendshipITWASANUNEXPECTEDLYHILLYAY INMAY 004WHENTHENEWS

FLASHED CROSS ARIOUSLECTRONICAILING ISTS HAT LORIA

Anzaldua had died from complications related to diabetes. Iwas inthe midst of teaching a course on contemporary issues in feminism

to a formidable group of undergraduate women and men, inwhichwe were reading "How to Tame aWild Tongue" and "La Concienciade laMestiza: Towards aNew Consciousness." These are my favorite

essays from Anzaldua's Borderlands I La Frontera: The New Mestiza,a text published in 1987 and still crucial to any understanding of

identity and politics in feminism today. The announcement, made

by Anzaldua's coeditor and companera, Cherrie Moraga, requestedthat we construct homemade shrines to honor Anzaldua's presence and aid her passing.1 My classroom was in Dartmouth Hall,a venerable

eighteenth-century building onlya stone's throw from

Baker Library, whose tower sports aweathervane with the image ofDartmouth's founder, Reverend Eleazar Wheelock, teaching a cross

legged, befeathered, and pipe-smoking Indian, Samson Occom, hismost famous student, beneath the symbolic lone pine. Into the graywalled room, I brought objects that seemed out of place there and

incendiary: candles, flowers, incense, and books?an armful ofwellthumbed volumes containing the nearly talismanic words, her own

and those of others, that Anzaldua struggled to bring into print.Itwas a strange moment in the academy (and one Gloria would

have relished): bright tints of flowers, plumes of incense, candleflames leaping in the weak spring light, and the surprised expressions of twenty-year-olds as I tried to express what Anzaldua's workhad envisioned and accomplished. This group of young peoplesome pierced, bandannaed, and dreadlocked, some in frilly pinkand heels, some mixed-race, and all extremely clever?pushed back

against what they saw as the deconstructive indeterminacy inmuch

contemporary feminist theory: not either-or but both-and. Whatwas the right course of action, they demanded in the imperious

IVY SCHWEITZER

IVYSCHWEITZERis ssociate professor of

English at Dartmouth College, where she

also teaches in the Women's and Gender

Studies,Comparative

Literature, and

Jewish Studies Programs. With Susan

Castillo, she has edited The Literatures ofColonial America: An Anthology (Black

well, 2001) and A Companion to the Lit

eratures of Colonial America (Blackwell,

2005), a volume of critical essays. She

is the early-period editor for The Heath

Anthology of American Literature and

is completing a study of the politics of

friendship in early America.

? 2006 BY THE MODERN LANGUAGE ASSOCIATION OF AMERICA 285

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286 For Gloria Anzaldua: Collecting America, Performing Friendship PMLA

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tones of youth, and how can we take it andrenovate the obvious social injustices that

plague our world?Gloria Anzaldiia, I said on that sad spring

day, was a feminist for whom theory and activism were necessary sides of the same coin.

Her theorizing of a new borderlands or mestiza consciousness helped jump start fresh

investigations in several fields?feminist,Americanist, postcolonial?that were stalledinwhat has been labeled "'the difference im

passe' ... a set of repetitive cultural narrativesstructured around the white/other binary"(Friedman 38). In the process, she contributed

to the creation of Chicano/a studies, whichbrought the history and culture of this ethnic

group to the notice of the academy. Not onlydid she pioneer this new consciousness and

geopolitical shift in American studies, shealso performed it at innumerable conferencesand talks, on the boards of magazines, and

most recently as a visiting faculty member atFlorida Atlantic University's Public Intellectuals Program. People read Anzaldiia's poignant

poetical accounts of her mixed and vexed ethnic and linguistic origins asMexican American (Spanish, African, Indian, German) and

queer growing up on the Tex-Mex border andsaw themselves reflected in that jagged mirror,sometimes for the first time. Anzaldiia's words

were her actions. She embodied, painfully andsometimes triumphantly, the both-and manytimes over. She advocated a "spiritual activism" that would "join the contradictions"

rather than resolve, synthesize,or

transcendthem and created a new form to express thisactivism called autohistoria-teoria: "the genreof writing about one's personal and collective

history using fictive elements ... a personalessay that theorizes" ("Now" 578).

Although I never met Anzaldiia, I told

my students, she taught me important lessonsabout friendship as theory and practice. Let

me explain. In the early 1990s, at the behest ofan earnest

female student despondentover the

state of interracial relations on my campus,

which was charred by the firestorms of iden

tity politics that periodically roared across

it, I began teaching courses on narratives ofwomen's interracial friendship. I took mycue from an influential 1981 essay cowrittenby the feminist philosophers Maria Lugonesand Elizabeth Spelman, self-identified as a

"Hispana" and a "white/Anglo" woman, whoconclude that "friendship" is the "only appropriate and understandable motive" for doingfeminist theory across the difficult divide ofracial and ethnic differences (23, 30). Such

friendship, they argue, is often "incomplete"because of the "asymmetry" of positions,

caused in part by white women's inability tofully "see" women of color not only as sub

jects, rather than objects, of theory or knowl

edge but also as subjects in a community witha collective history and identity (23).

Eventually, I had to go back to classical Greek and Latin sources to understand

friendship as part of a long philosophicaldiscourse inWestern thought that, accordingto Plato, envisions the process of philosophy

itself as inseparable from pederastic friendship between privileged male citizens. Hisstudent Aristotle, by contrast, calls the friend"another self" and places friendship at theheart of his Ethics as the linchpin of politicalcommunity (Nicomachean Ethics 29; bk. 9,ch. 4). Friendship's highest form is a spiritualaffiliation or rational desire based on sym

metry and likeness?that is,moral equality?a formulation that categorically excludes

women(understood

asfleshly and irrational)aswell as differences of race and class. Aristo

tle also outlines a theory of "natural slavery,"inwhich some people who, like females and

children, lack autonomizing reason are in

nately non-subjects and thus subject to theirinherent "superiors" (Politics 1131-33; bk. 1,ch. 3). This idea governed how early modern

European scholars, colonial policy makers,and explorers preconceived the other andtreated the

indigenous people theyencoun

tered and subdued in the Americas.



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i2i.i Ivy Schweitzer 287

What I did not know but learned fromChicana feminists like Anzaldiia was that theAmericas produced indigenous discoursesof friendship that recognized and attemptedto redress the asymmetry of interculturalrelations, by producing, rather than initiallyrequiring, equality. In the foreword to This

Bridge We Call Home: Radical Visions forTransformation (2002), the anthology Anzaldiia coedited twenty years after Lugones and

Spelman's pathbreaking dialogue, Chela Sandoval echoes Gayatri Chakravorty Spivak in

calling for the cultivation of a "planetary politics" through "technologies of crossing" (21,23). These strategies for global political transformation, she insists, would support "identities necessary for recognizing power, and

changing its conditions on behalf of equalizingpower between socially and psychically differ

ing subjects." To illustrate this idea, Sandovalreaches back to the precontact "Mayan code ofhonor" (Sandoval 23), which recommends ad

dressing others in language strikingly similarto the Aristotelian formulation: "In Lak'ech: I

am another yourself" (Argiielles 196)."This verbal address," Sandoval contin

ues, "like Anzaldiia's salutation T meet youwith my heart inmy hand,' refers to a political system of recognition, the terms of whichbuilt Lorde's 'house of difference'" (23). Sandoval refers to the black feminist theorist Audre Lorde, who, in a series of influential talksand essays collected in the 1984 book SisterOutsider, argued that "the master's tools will

never dismantle the master's house"; thus,women must "redefine difference"?of "age,race, class, and sex"?so that it is no longera tool of hegemonic control that divides and

separates but a vitalizing source of connection and empowerment that can "enrich ourvisions and our joint struggles" (122-23). Inthis form of politics as address, we shouldnot miss Sandoval's renovating pun on the"Lord's house," from which the colored, the

queer, and the supposedly savage, not to mention difference itself, have been too often ex

eluded.2 By contrast, "Lorde's house," a new

paradigm for relations and politics, a structure for thinking and living, a figurative shelter, dwelling, and home of and for difference,is built on the foundation of work pioneeredby Anzaldua in a series of strategic collectionsof writings by women of color.

Anzaldua's most significant and least ac

knowledged work may be as an anthologizer.In this role, she acted as an invisible hand thatsensed a need and sought out, encouraged,and gathered together writing by women

who may not even have considered themselves writers. Such writing, on its own, maybe marginal, but as a framed ensemble it canhave and has had significant effects. Anzalduahas produced three anthologies that radicallyshifted the ground of feminist, Americanist,

postcolonial, and queer studies. As someone who has worked on several anthologiesin the fields of multicultural American and

comparative colonialist studies, however, Ican confirm that this work proves the truism that no good deed goes unpunished. Not

only is the effort one puts into anthologizinglargely illegible and institutionally (though

not professionally or intellectually) thankless,but decisions about inclusion, exclusion, or

ganization, and space allotment?the canon

inevitably formed by anthologies?are oftendetermined not by intellectual or artisticcriteria but by material and economic considerations that may go largely unremarked.3Furthermore, Anzaldua's anthologies have

broken new ground by creating unique formsof the genre that defy mainstream academicfeminist and literary notions.

For example, in an innovative study of theinstitutional history of "anthologies of American academic feminist literary criticism" entitled Around 1981, Jane Gallop gives seriousconsideration to the collective nature ("in the

political sense") of feminist criticism and,thus, sees anthologies of feminist theory as

"the best place to hear that collective subject"and "witness the dynamics of collectivity" in

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her search for "some sort of'collective unconscious'" (8).However, Gallop does not mention either of Anzaldiia's collections in printat the time, although the first, This BridgeCalled My Back: Writings by Radical Women

of Color, coedited by Anzaldua and Cherrie

Moraga, appeared in 1981 (reprinted in 1983),the focal year of Gallop's title. Although thiscollection does not appear to fit into Gallop'srubric of "academic feminist literary theory"or illuminate the quarrel she traces betweenFrench high theory and American historicism, its omission may be, to use Gallop's ana

lytic term, "symptomatic" of a critical myopiathat narrowly defines theory, feminism, and

literary criticism. This Bridge Called My Back

challenges standard feminist historiographyand notions of theory, aswell aswho can "do"them and to what ends. Anzaldiia's second

anthology, Making Face, Making Soul: Haciendo Caras: Creative and Critical Perspectivesby Feminists of Color (1990), which she edited solo, concludes with a section pointedlyentitled "'Doing' Theory in Other Modes of

Consciousness" and leads off with BarbaraChristian's defining essay on the issue, wittilycalled "The Race for Theory."

A contributing problem may be the lowesteem in which the academy and publishing industry presently hold anthologies.4 Inone of the few sustained studies of the genre(to which Anzaldiia's efforts are also eccen

tric), the editor Jeffrey i Leo contends that

"[a]nthologies are second-class citizens of the

academic world" and "though popular" inthe academy and culture at large, serve, in the

words of Random House's editorial director,Jason Epstein, "no literary purpose." That is,scholars and publishers do not consider themto be "creative or aesthetic acts in the same

way that novels and poems are" (9). Iwould

argue that Anzaldiia's anthologies exemplifyforms of the genre that are categorically different from discipline-specific academic

collections, textbook readers, or even the progressive Heath Anthology ofAmerican Litera

ture (onwhose editorial board I sit), althoughall, in different ways, engage in the politicsof representation, expand cultural literacies,and wrestle with problems of disciplinarity.In constituting the "collective subjectivities"(here, plural) of "women of color," a categorythat becomes increasingly expansive acrosstheir twenty-year trajectory, Anzaldua's anthol

ogies are, rather, performative acts of sur

vival, gestures of validation that bring forththeir subjects?authors and readers?througha ritual of publication from which many have

been, or felt themselves to be, excluded. "Mak

ing these anthologies is also activism," Anzal

dua declared in an interview from 1996; likethe creation of culture through writing, painting, or filmmaking, "You're rewriting the culture" (Interviews 277). These collections servea purpose broader than the "literary," strivingto "de-academize theory and to connect the

community to the academy" and reconnectthe creative and aesthetic to the political andsocial ("Haciendo Caras" xxv-xxvi).

ThisBridgeCalledMy Backmarked thebeginning of a radical social movement. Itbegan, according to the editors, "as a reactionto the racism of white feminists" but "soonbecame a positive affirmation of the commitment of women of color to our own feminism" (Introduction xxiii). Sandoval observesthat the first Bridge was not an ordinary an

thology but constituted a "contract" and "vow...

performed as litany, promise, covenant, or

guarantee," which used the word (Logos) to

"dispute" and "transcend" logocentrism, notonly to give "voice" to the silenced but alsoto spur action toward a Utopian future ("Af

terBridge" 22). Anzaldua, in her contributionto that first collection, admits that she writes

"[b]ecause the world I create in the writingcompensates for what the real world does not

give me" ("Speaking" 169). This first anthol

ogy contained, if not the blueprint of Lorde'shouse of difference, then its initial plans. It

was not somuch a house as a bridge, a meansof crossing. And not only a bridge but also a



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121.1 Ivy Schweitzer 289

signifier of the strong, overburdened and un

acknowledged, supporting backs of women ofcolor. Disparaged as the mules of the world,

they would carry themselves, each other, and

the rest of us to a different and better place."The urge to anthologize

... to bear un

mistakable witness ... to bring more voices tothe foreground" motivated Anzaldiia's second

anthology, Making Face, Making Soul ("Haciendo Caras" xvii). But the need for "more"also suggests a growing frustration with the

reception of the first Bridge among white feminists, who included it on their reading listsbut didn't otherwise rethink their feminist

politics. Metaphors of mediation and bridgingmorph into figures of self-construction,internal decolonization, and intracommunalalliances as Anzaldua realizes the futility of

expending energy "breaking down the male/white frame (the whole ofWestern culture)"and charges her readers to "turn to our ownkind and change our terms of reference" ("EnRapport" 145). Although her introduction,"Haciendo Caras, una Entrada," contains

her harshest denunciations of white racismand ethnocentrism, her essay in the collection advocates a shift from the ressentimentof identity politics and from withdrawal intothe "safety of difference" to "rapprochement"

with the "Other," no longer regarded as "irre

vocably different," and between self and other(the differences within, themestiza) "to builda syncretic relationship." This requires under

standing the effects and undoing the "pathol

ogies" of colonialism, as well as renouncingthe "permanent boundaries of a fixed self."

"Unity," she comes to suspect, "is another

Anglo invention" ("En Rapport" 145-46).Further evolution inAnzaldiia's thinking

is evident in the third anthology, initiated bycoeditor AnaLouise Keating when she discovered in 1998 that This Bridge Called My Back

was out of print. Recalling how she "marveledat the editors' boldness and their confidence

that writing can transform us," Keating characterizes this text as a "life-altering event"

and the occasion of her "conversion experience, the first step on my journey into radical

woman-of-color feminism" (8). But she alsowonders how much has really changed in the

twenty years since the appearance oi Bridge,especially in the light of Nora Alarcon's assertions inMaking Face, Making Soul that, as

Keating puts it, the "reverential respect" accorded this text by Anglo-American feministsremains largely "cosmetic" (aword she quotesfrom Alarc6n), "just a nod toward diversity,"and that the female subject of feminism is stillthe autonomous individual and individualist

(white) adult (Keating 7).This third anthology builds on but also

rebuilds the first Bridge. Where the first Bridgewas ameans of crossing over from the horror of racism and sexism to a future Utopia,

Anzaldua now realizes that the bridge itself,the liminal space of displacement, is the onlypossible home for the moment ("(Un)NaturalBridges" 1). Other crucial changes occurhere: the metaphors are biological ("symbiotic") and ecological, the perspective more

planetary and increasingly "transgendered"and less exclusively American. Unlike most

people, Anzaldua declares, "we define who weare by what we include?what I call the newtribalism" (2-3). In fact, the "we" has dramat

ically changed. Just s the earlier anthologiescreated a readership of women of color wherebefore there was none, the latest anthologychallenges those boundaries by including

whites and men, by refusing "to continue to

walk the color line" and attempting "to collapse the gender line" (4).These controversial

moves lead to a set of important questions:how does one continue to support "identitypolitics"?the self-naming and communityclaiming from specific locations that valorizedifferences (or some mixture of identifiers)that have been the lifeblood of projects like

Anzaldua's?and yet claim spiritual or onto

logical commonality and global community?

That is, how does one engage in Anzaldua's"spiritual activism," which is grounded in an

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understanding of "our radical interconnectedness" (Keating 18-19)?

Anzaldua's response brings us back to thethemes of America and friendship with which

I began. Although her critiques echo those ofpostcolonial theorists, Anzaldua grounds herideas in pre-Columbian history and figures.

The bridge, she tells us, represents the placeand time oilinepantla, aNahuatl word mean

ing tierra entre medio," a threshold betweenold worldviews and new ones yet to come.Those dwelling in this liminal space and fa

cilitating passage between are nepantleras,mestizas, shape- and consciousness-shifters,

code-switchers, who will produce new conocimientos, new meanings and knowledges("(Un)Natural Bridges" 1).Her early, shock

ing use of Spanglish in theoretical essaysperformed the specific bridging function and

gave monolingual readers like me two con

flicting but ameliorating sympathetic experiences: an expansive feeling of existing inseveral languages and cultures at once and,

conversely, a painful sense of exclusion from

full understanding. In the last anthology,however, Anzaldua no longer italicizes Spanish and Nahuatl words, as if they are no lon

ger a foreign language but an integral part ofthe evolving vocabulary of a global "mestizaconsciousness" originating in the Americas.It is a remarkable gesture of recentering and

encompassing, though not quite relinquishing, an American "exceptionalism," but hereas "la raza cosmica," an idea (adapted fromtheMexican

philosopher JoseVasconcelos)of

"a fifth race embracing the four major racesof the world," which is directly antithetical tothe theory of the "pure Aryan" and to policiesof racial purity (Borderlands 77).

In drawing specifically (though somehave said abstractly) on the Indian part ofher heritage, Anzaldua redefines "America"as geographic, hemispheric, and radically

mixed; as having not just founding fathersbut also tres madres: la

Virgende Guada

lupe, laChingada (Malinche), and la Llorona

(Borderlands 30). She symbolically raises theIndian sitting cross-legged on the ground to

parity with the preaching reverend. Furthermore, in the final essay of the last anthology,

poignantly titled "Now Let Us Shift... thePath of Conocimiento ... Inner Work, Public

Acts," Anzaldua writes in the second person,as if she is speaking directly to her readers butalso speaking as them, and as someone outside of herself, watching. This largely autobio

graphical essay, which rehearses her illnessesas ifpreparing us for her death, is "a bridge of

words... a bridge home to the self" (540), andits Utopian "work" is "healing the split that

originates in the very foundations of our lives,our culture, our languages, our thoughts" that

may "bring us to the end of rape, of violence,of war" (Borderlands 80). I first taught "LaConciencia de laMestiza" at the conclusion toa first-year seminar on narratives of women's

interracial friendship, as an attempt?by nomeans always successful?to make friends

with warring parts of oneself. Ideally, friendschoose each other freely, respect each other's

sovereignty, confirm each other's equality, earn together. What better blueprint for

building the house we all wish to dwell in?

Notes1. See the "Web altar" InMemory.2. Paul, for example, asserts, "For by one Spirit are we

all baptized into one body, whether we be Jews or Gentiles,

whether we be bond or free" (1Cor. 13).This isusually readas an inclusive basis for Christianity?equality throughSpirit?but such equality is achieved by demonizing and

erasing differences and reducing them to a single entity.3. See Nelson, who is unique in revealing the complex

monetary details that shaped his editorial decisions on

the Anthology ofModern American Poetry. Those of us

on the editorial board of the fifth edition of The Heath

Anthology of American Literature faced skyrocketingpermissions costs, money that too often does not find its

way back to authors but crucially shaped and sometimes

forced our editorial decisions. Williams offers a frankdiscussion of the academic disdain for

anthologiesand

for the editing work that goes into them.



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i2i.i Ivy Schweitzer 291

4. Di Leo argues, somewhat optimistically, that thissituation is changing, "as the academy shifts from a so

lipsistic model of research value to amodel based more

strongly in pragmatic ideals" (10).

Works CitedAlarcon, Nora. "The Theoretical Subject(s) of This Bridge

Called My Back and Anglo-American Feminism." An

zaldua, Making Face 356-69.

Anzaldua, Gloria. Borderlands / La Frontera: The NewMestiza. San Francisco: Aunt Lute, 1987.

-. "En Rapport, in Opposition: Cobrando Cuentas a

lasNuestras." Anzaldua, Making Face 142-48.

-. "Haciendo Caras, una Entrada." Anzaldua, Mak

ingFace xv-xxviii.

-. Interviews/Entrevistas. Ed. AnaLouise Keating.New York: Routledge, 2000.

-, ed. Making Face, Making Soul: Haciendo Caras:Creative and Critical Perspectives by Feminists ofColor. San Francisco: Aunt Lute, 1990.

-. "Now Let Us Shift ... the Path of Conocimiento ...

InnerWork, Public Acts." Anzaldua and Keating 540-78.-. "Speaking in Tongues: A Letter to Third World

Women Writers." Anzaldua and Moraga, This Bridge165-74.

-. "(Un)Natural Bridges, (Un)Safe Spaces." Preface.

Anzaldua and Keating 1-5.Anzaldua, Gloria, and AnaLouise Keating, eds. This

Bridge We Call Home: Radical Visions for Transformation. New York: Routledge, 2002.

Anzaldua, Gloria, and Cherrie Moraga. Introduction. Anzaldua and Moraga, This Bridge xxiii-xxvi.

-, eds. This Bridge Called My Back: Writings by Radical Women of Color. New York: Kitchen Table, 1983.

Argiielles, Jose. TheMayan Factor: Path beyond Technol

ogy. Santa Fe: Bear, 1996.

Aristotle. Nicomachean Ethics: Books VIII and IX. Trans.

Michael Pakaluk. Oxford: Clarendon, 1998.-. Politics. The Basic Works of Aristotle. Ed. Richard

McKeon. New York: Random, 1941. 1113-316.

The Bible, 1952, Rev. standard edition. New York: Amer.Bible Soc, 1971.

Di Leo, Jeffrey ., ed. On Anthologies: Politics and Peda

gogy. Lincoln: U of Nebraska P, 2004.

Friedman, Susan Stanford. Mappings: Feminism and theCultural Geographies of Encounter. Princeton: Princeton UP, 1998.

Gallop, Jane. Around 1981: Academic Feminist LiteraryTheory. New York: Routledge, 1992.

InMemory: Gloria Evangelina Anzaldua, 1942-2004.6 Oct.2004. 7 Oct. 2005

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