Journey with Ernesto Galarza through time, place, and culture in this stunning memoir of Mexican American identity and acculturation. Barrio Boy is the remarkable story of one boy's journey from a Mexican village so small its main street didn't have a name, to the barrio of Sacramento, California, bustling and thriving in the early decades of the twentieth century. With vivid imagery and a rare gift for re-creating a child's sense of time and place, Ernesto Galarza gives an account of the early experiences of his extraordinary life—from revolution in Mexico to segregation in the United States—that will continue to engage readers for generations to come. Since it was first published in 1971, Galarza’s classic work has been assigned in high school and undergraduate classrooms across the country, profoundly affecting thousands of students who read this true story of acculturation into American life. The 40th anniversary edition of this best-selling book includes a new text design and cover, as well an introduction by Ilan Stavans, the distinguished cultural critic and editor of the Norton Anthology of Latino Literature, which places Barrio Boy and Ernesto Galarza in historical context.

As garment workers, longshoremen, autoworkers, sharecroppers and clerks took to the streets, striking and organizing unions in the midst of the Depression, artists, writers and filmmakers joined the insurgent social movement by creating a cultural front. Disney cartoonists walked picket lines, and Billie Holiday sand 'Strange Fruit' at the left-wing cabaret, Café Society. Duke Ellington produced a radical musical, Jump for Joy, New York garment workers staged the legendary Broadway revue Pins and Needles, and Orson Welles and his Mercury players took their labor operas and anti-fascist Shakespeare to Hollywood and made Citizen Kane. A major reassessment of US cultural history, The Cultural Front is a vivid mural of this extraordinary upheaval which reshaped American culture in the twentieth century.

Primer libro dedicado al análisis de las manifestaciones culturales de la inmigración mexicana en Estados Unidos: arte, literatura, cine, canciones, humor. Muestra cómo los inmigrantes mexicanos han sido y son pintados, y cómo los artistas, escritores e intelectuales, chicanos y otros han utilizado los medios artísticos para protestar contra el injusto tratamiento que reciben por parte de las autoridades de Estados Unidos.

Joining the current debates in American literary history, José David Saldívar offers a challenging new perspective on what constitutes not only the canon in American literature, but also the notion of America itself. His aim is the articulation of a fresh, transgeographical conception of American culture, one more responsive to the geographical ties and political crosscurrents of the hemisphere than to narrow national ideologies. Saldívar pursues this goal through an array of oppositional critical and creative practices. He analyzes a range of North American writers of color (Rolando Hinojosa, Gloria Anzaldúa, Arturo Islas, Ntozake Shange, and others) and Latin American authors (José Martí, Roberto Fernández Retamar, Gabriel García Márquez, and others), whose work forms a radical critique of the dominant culture, its politics, and its restrictive modes of expression. By doing so, Saldívar opens the traditional American canon to a dialog with other voices, not just the voices of national minorities, but those of regional cultures different from the prevalent anglocentric model. The Dialectics of Our America, in its project to expand the “canon” and define a pan-American literary tradition, will make a critical difference in ongoing attempts to reconceptualize American literary history.

Takaki traces the economic and political history of Indians, African Americans, Mexicans, Japanese, Chinese, Irish, and Jewish people in America, with considerable attention given to instances and consequences of racism. The narrative is laced with short quotations, cameos of personal experiences, and excerpts from folk music and literature. Well-known occurrences, such as the Triangle Shirtwaist Factory Fire, the Trail of Tears, the Harlem Renaissance, and the Japanese internment are included. Students may be surprised by some of the revelations, but will recognize a constant thread of rampant racism. The author concludes with a summary of today's changing economic climate and offers Rodney King's challenge to all of us to try to get along. Readers will find this overview to be an accessible, cogent jumping-off place for American history and political science plus a guide to the myriad other sources identified in the notes.

Struggles over space and resistance to geographic displacement gave birth to much of Chicano history and culture. In this pathfinding book, Raúl Villa explores how California Chicano/a activists, journalists, writers, artists, and musicians have used expressive culture to oppose the community-destroying forces of urban renewal programs and massive freeway development and to create and defend a sense of Chicano place-identity. Villa opens with a historical overview that shows how Chicano communities and culture have grown in response to conflicts over space ever since the United States' annexation of Mexican territory in the 1840s. Then, turning to the work of contemporary members of the Chicano intelligentsia such as Helena Maria Viramontes, Ron Arias, and Lorna Dee Cervantes, Villa demonstrates how their expressive practices re-imagine and re-create the dominant urban space as a community enabling place. In doing so, he illuminates the endless interplay in which cultural texts and practices are shaped by and act upon their social and political contexts.

Border Confluences examines how the theme of cultural difference influences the ways that writers construct narrative space and the ways their characters negotiate those spaces, from domestic sphere to national territory, public school to utopia."--BOOK JACKET.

In order to study resilience in children, the author examines five autobiographical narratives which deal extensively with childhood difficulties: I Know Why the Caged Bird Sings, The Woman Warrior, Hunger of Memory, Brothers and Keepers, and This Boy's Life. In analyzing these stories, he draws on topics such as urban school reform, birth order, bilingual education, the importance of family and community, child development, gender stereotyping, and discrimination based on race, ethnicity, and sexual identity. Annotation copyrighted by Book News, Inc., Portland, OR

For over 150 years, borderland authors from both Mexico and the United States have developed novels which owe their narrative power to compelling relationships between literary constructions of space and artistic expressions of conflicts, characters, and cultural encounter. This study explores those relationships by analyzing representations of the spaces in which characters function-whether barrio, ballroom, or border city as well as the places characters inhabit relative to the border-occupying native or foreign territory, traveling temporarily, or settling permanently. Concomitant with close attention to the conceptualization of space in border literature is a foregrounding of the genres that border writers employ, such as historical romance and the Hispanic bildungsroman, as well as the literary traditions from which they draw, such as travel narratives or utopian literature. Assessing geopoetics in border writing from the Mexican American War to the present, including writers such as Helen Hunt Jackson, Jovita Gonzalez, Ernesto Galarza, Americo Paredes, Harriet Doerr, Cormac McCarthy, Leslie Marmon Silko, and Miguel Mendez provides a paradigm for tracing the development and changes in individual responses to this space as well as a broad range of responses based on class and gender. This corpus of literature demonstrates that the various ways in which characters respond to cultural encounter-adapting, resisting, challenging, sympathizing-depends on artistic rendering of spaces and places around them. Thus, the central argument of this project is that character responses to cultural encounters arise out of geopoetics-the artistic expression of space and place-from the earliest to the most recent border narratives.