By Cherríe L. Moraga
Thirty years after the e-book of Anzaldúa and Moraga’s assortment This Bridge referred to as My Back, a landmark of women-of-color feminism, Moraga’s literary and political praxis is still encouraged by way of and intertwined with indigenous spirituality and her identification as Chicana lesbian. but elements of her considering have replaced through the years. A Xicana Codex of adjusting Consciousness finds key modifications in Moraga’s suggestion; the breadth, rigor, and philosophical intensity of her paintings; her perspectives on modern debates approximately citizenship, immigration, and homosexual marriage; and her deepening involvement in transnational feminist and indigenous activism. it's a significant assertion from considered one of our most crucial public intellectuals.
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Additional resources for A Xicana Codex of Changing Consciousness: Writings, 2000–2010
Sample text
She is queer and writes books, and wants something more for herself and us. Something more than careers and portfolios and mortgages. And what I want is enough for all of us for now. I am wondering what is happening in my middle age. I have changed. I have less hope, it seems, a deepening sadness accompanied by a growing wakefulness. I refer to my son as I do because I know this is a fleeting moment of well-being, extended in his blessed childhood, where he is awake and full of hope, which propels him forward into his life like the gestating hormones of his sister.
9 The old women of this story, as much as the personal and political portraits painted in an essay, are my Xicanadyke codices of changing consciousness. As a child in the early 1960s clandestinely dreaming of women, I could never have imagined how “legitimate” in some select circles queerness would become. I also never knew how the color of that queerness (and its political consequences) would once again render my desire not only unlawful but thoroughly revolutionary in its political promise. A codex is a history told and foretold.
Why is this so difficult for the United States to acknowledge? Do we really believe the Hollywood version of our story? We are always the good guys. They, those “others,” are always the bad. The speeches for the National Day of Remembrance on September 17 reflected exactly this kind of national solipsism, in which speakers for the most part espoused a chest-pounding, self-aggrandizing moral superiority over the “uncivilized” Islamic world. S. Muslim and Arab communities since September 11 are just that—token—and belie a profound xenophobic distrust and disdain of cultures that elude the West’s ethnocentrism.
