Cover

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Title Page, Copyright, Dedication

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CONTENTS

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p. vii

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ACKNOWLEDGMENTS

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p. ix

I am honored to have had the privilege to work with scholarly and literary revolutionaries throughout my journey to this book. Frances Aparicio, Eliana Rivero, Jossianna Arroyo, Mar

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1. Queering Home: Desire Meets Theory Meets Art

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pp. 1-9

In “The Homeland, Aztlán/El otro México,” Gloria Anzaldúa maps the physical and emotionally treacherous terrain covered by undocumented women in the U.S.–Mexico border region. Vulnerability to violence, discrimination, and harsh environmental conditions marks a precarious state that Anzaldúa visualizes as a ...

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2. Speaking Selves: Language and Identity in Transition

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pp. 10-40

I begin with a word, as all books must. A label for him, a title for her. Which X marks your spot? This book’s title alone contains three labels: queer, Chicana, and Latina. Each word maps a clear path toward gender, sexuality, and/or ethnic identity. Language necessitates order. Yet human experience and subjectivity are inherently disorderly. ...

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3. Moving Violations: Performing the Limits of Representation in Marga Gomez’s jaywalker

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pp. 41-67

The sounds of screeching tires and crunching metal open Marga Gomez’s jaywalker,1 where a wide-eyed Gomez rushes out into the spotlight on a stage with only a small pile of automobile tires set to one side. Dressed in a short black lace slip, bright orange traffic safety vest, and precariously high platform sneakers, the title character ...

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4. The Birdy and the Bees: Queer Chicana Girlhood in Carla Trujillo’s What Night Brings

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pp. 68-91

Marci is a girl who wants to be a boy so she can be in love with a girl. She introduces her plight with the above declaration while nightly imploring to God, Baby Jesus, and the Virgin Mary to grant her wish of bodily conversion. At different points along the narrative road that Carla Trujillo paves in her 2003 debut novel, ...

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5. Complicating Community: Terri de la Pe

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pp. 92-120

Each of the narrative works in this chapter map out the insufficiencies of dominant spaces while simultaneously envisioning organic home spaces where queer Latina bodies, voices, and discourses are not marginal but central. When considered together, these characterizations of queer Latina desire posit a politics ...

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6. Performing the Erotics of Home: Monica Palacios, Marga Gomez, and Carmelita Tropicana

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pp. 121-143

Performative forms of expression not only allow for an additional element of corporeality so important to marginalized subjects combating silence and erasure, but also emphasize the performative nature of the representational process. By breaking free from the constraints of the page and the written word, ...

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7. Dancing with Devils: Gendered Violence in Novels by Emma P

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pp. 144-167

Transitioning away from the model of sameness elucidated in the previous chapters, the narrative works of Emma P

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8. Our Art Is Our Weapon: Women of Color Transforming Academia

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pp. 168-190

Ela Troyano’s 1994 short film Carmelita Tropicana: Your Kunst Is Your Waffen stars Troyano’s sister Alina as her performative alter-ego, Carmelita Tropicana, a radical Cuban-born, New York City, Lower East Side–dwelling, lesbian performance artist with a penchant for colorful sequined costumes, platform sneakers, and ...

NOTES

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pp. 191-200

BIBLIOGRAPHY

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pp. 201-210

INDEX

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pp. 211-220

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ABOUT THE AUTHOR

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p. 211

MARIVEL T. DANIELSON is an assistant professor of literature and cultural studies in the Department of Transborder Chicana/o Latina/o Studies at Arizona State University.