Cover

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pp. 1-1

Title Page, Copyright, Dedication

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pp. 2-7

Contents

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pp. vii-viii

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Preface

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pp. ix-xii

Clyde Kluckhohn once suggested that anthropology may be nothing more than an intellectual poaching license. As a cultural anthropologist, I must confess at the outset that such license may be my only charter in undertaking this study of Mexican and Chicano poetry. ...

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Introduction

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pp. 1-4

This study is an exploration of the social origins, continuity, transformation, and ideological meanings of a particular range of political poetry produced by men of Mexican descent, mostly in the United States. I begin with the oral folk poetic form known as the corrido, or Mexican ballad, ...

Part One: Politics, Poetics, and the Residual Precursors, 1848–1958

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1. Borders, Bullets, and Ballads: The Social Making of a Master Poem

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pp. 7-44

In 1915, as European imperialist powers fought their bloody Great War, and two years before the Bolshevik uprising in Russia, both war and revolution raged in Mexico and briefly on the northern side of the Mexico-United States border. During the initial phase of the Mexican Revolution (1910 to 1911), ...

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2. Américo Paredes, Tradition, and the First Ephebe: A Poetic Meditation on the Epic Corrido

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pp. 45-60

"In 1915, oh but the days were hot! So says the corrida, 'Los Sediciosos' commemorating the Texas-Mexican uprising of 1915." And so comments Americo Paredes, who was born along the Lower Border that same year, even as "bands of Border men under the leadership of Aniceto Pizafla and Luis de la Rosa raided as far north as the King Ranch, ...

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3. With His Pistol in His Hand: The Essay as Strong Sociological Poem

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pp. 61-78

Americo Paredes's classic work of corrido scholarship, With His Pistol in His Hand: A Border Ballad and Its Hero (1958), offers us the poetically mature and politically engaged resolution of the dialectical tensions between the precursory tradition and contemporary creativity that "Guitarreros" articulates but does not resolve. ...

Part Two: Social Conflict, Emergent Poetry, and the New Ephebes

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4. Chicano Poetry and Politics: The Later Recognition of the Precursor

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pp. 81-94

It was a little difficult to read the rough, hand-lettered collapsing sign that once had been firmly tied to one of the oak trees on the West Mall of the University of Texas at Austin. In the early fall of 1966, a steady drizzle had done its slow destructive work, but most of the writing was legible enough to attract my attention. ...

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5. My Old Man's Ballad: José Montoya and the Power Beyond

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pp. 95-114

No Mexican-American intellectual coming to political and cultural awareness in the mid-1960s could have missed the enormous significance of the appearance of El Grito: A Journal of Contemporary Mexican- American Thought, published in Berkeley in 1967. Edited by Octavio Romano and Nick Vaca in its initial phase, ...

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6. The Daemonizing Epic: Rodolfo "Corky" Gonzales and the Poetics of Chicano Rebellion

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pp. 115-130

With José Montoya we were instructed in the ways that too close an adherence to the precursor can vitiate a contemporary political poetics. We have a radically different case with Rodolfo "Corky" Gonzales's "I Am Joaquin: An Epic Poem," a more ambitious poem that, after a long review of the history of greater Mexico, ...

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7. Juan Gómez-Quiñones: The Historian in the Poet and the Poetic Form of Androgyny

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pp. 131-154

In the last two chapters I have been evoking the image of an ideal ephebe to the strong precursory poem, the corrido. Such a poetry would need be one of multivocalic and simultaneous image, form, and social engagement; a text at once in fruitful dialogue with its precursor and in a politically creative resonance with its present. ...

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Conclusion

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pp. 155-172

On the basis of the foregoing analysis, I want to now address several key issues in the study of literary culture. In an interrelated sequence, these concern current debates regarding new historicist practice, especially as these broach the subject of folklore; the emerging question of minorities and modernisms; and, finally, the state of Chicano cultural criticism. ...

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Epilogue

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pp. 173-175

The case of a Chicano vernacular or populist modernism that I have presented in these pages is an example of a vital and dynamic dialogue between a traditional and powerful folklore and a confirmation of "traditional" modernism. This dialogue, in turn, intersects and poetically defines a crucial period in the history of the greater Mexican people, the years 1965-1972. ...

Appendix A. Harold Bloom: An Exposition and Left Critique

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pp. 177-186

Appendix B. Juan Gómez-Quiñones, "Canto al Trabajador"

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pp. 187-188

Appendix C. Juan Gómez-Quiñones, "The Ballad of Billy Rivera"

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pp. 189-194

Notes

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pp. 195-200

References

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pp. 201-214

Index

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pp. 215-219

Production Notes

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pp. 235-235