A medida que los descendientes de inmigrantes mexicanos se han ido estableciendo por todo Estados Unidos, ha surgido una gran literatura, pero sus similaridades con la literatura de México han pasado inadvertidas. En Voces sin fronteras , la primera antología que combina la literatura de ambos lados de la frontera méxico-americana, Cristina García nos presenta un diálogo intercultural de una rica diversidad.
Voces históricas de maestros mexicanos como Carlos Fuentes, Elena Poniatowska y Juan Rulfo se entrelazan contínuamente con voces magistrales de chicanos como Sandra Cisneros, Rudolfo Anaya y Gloria Anzaldœa para formar una vibrante tela bilingüe y bicultural. El resultado es esta memorable colección de obras de ficción, ensayos y poesía que brinda una perspectiva emocionantemente nueva de nuestro continente —y de la mejor literatura contemporánea.
After working for Time Magazine as a researcher, reporter, and Miami bureau chief, García turned to writing fiction. Her first novel, Dreaming in Cuban (1992), received critical acclaim and was a finalist for the National Book Award. She has since published her novels The Agüero Sisters (1997) and Monkey Hunting (2003), and has edited books of Cuban and other Latin American literature. Her fourth novel, A Handbook to Luck, was released in hardcover in 2007 and came out in paperback in April 2008.
The chapter "How to Tame a Wild Tongue" by Gloria Anzaldua was fascinating. It indirectly explained why in the movie Napoleon Dynamite the Mexican guy who drove Napoleon to the dance says "Simon" when asked if he's "Pedro's cousin with all the sweet hook-ups." Originally, it seemed like an odd response, but now I know that simon means yes in the Pachuco dialect of Chicano Spanish. It's probably nothing you'd ever learn taking high school or college Spanish, because it is slang, but that's why I really liked this chapter.
(I have more to write about this book, but I don't have time right now. More later.)
Not the best anthology. Containing some exceptional and awesome entries for sure! I’m displeased by the number of instances long fictional prose works are excerpted. I also wished for this to shed more light into the obscure and onto the untranslated, but found it to be just a tad essentialist and remediate, with major poets really underrepresented, furthermore the poets who did find their way into this Reader got way too few pages commuted to them. What made this worth a read were the short stories, namely: “How to Tame a Wild Tongue” by Gloria Anzaldúa and “Hagiography of the Apostate” by Ignacio Padilla.
La única razón por la que le di cuatro estrellas es porque incluyeron un ensayo del insufrible acomplejado de Richard Rodríguez. No leí su ensayo. Me niego rotundamente a desperdiciar ni un segundo de mi vida leyendo las tonterías que escribe Rodríguez. De ahí en fuera todo muy bien, todos los otros autores son tremendamente buenos.
This book was a mix of absolutely fantastic pieces and some bland trudging ones. The strong pieces are so great it's worth the few misses inside. Beautifully lingual (about language) through beautiful language and imagery.