Cover

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Title Page, Copyright page

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Contents

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p. vii

Preface

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pp. ix-17

Ac knowledgments

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pp. xvii-xix

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Introduction

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pp. 1-14

"How is it that there is so many lloronas? [. . .] in my family we believe its a mexican legend and that La Llorona is one woman who drowned her kids in a river and she wanders by the river in some place in Mexico."

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One

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pp. 15-36

"JORGE A. HUERTA'S play La Llorona (1978) opens with the guitar strains of the traditional Mexican folksong of the same name. Against this backdrop, the actors, who form a semicircle facing the audience, together shout, '

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Two

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pp. 37-69

"IN AN EXCERPT from Mexican writer Carmen Toscano’s play La Llorona (1959), which was published as a dramatic dialogue in Literatura Chicana: Texto y contexto (1972), the character Fourth Woman says of La Llorona, 'What merciless destiny drags her through the silent streets, / and over the most hidden paths. ..."

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Three

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pp. 71-107

"The official version was a lie. I knew that from the same bone that first held the memory of the cuento. Who would kill their kid over some man dumping them?"

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Four

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pp. 109-143

"THE READING of the artifacts analyzed in the previous chapters show how Chican@s are working within or redrawing the boundaries of La Llorona stories to generate cultural criticism. Identifying revisions of the lore that feature the legendary figure as a symbol of resistance brings to light the ways in which La Llorona can serve as an agent of change for other women. Artifacts that retain ..."

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Five

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pp. 145-177

"Dialogue has never existed between the First and Third worlds. We must not confuse dialogue with neo-colonialism, paternalism, vampirism, or..."

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Six

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pp. 179-193

"What incredible power lies in this woman of legend that we have dismissed as a bogey woman of the river. We’ve used her to frighten children, when we should be using her to raise them—the new children of a new era who..."

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Conclusion

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pp. 195-208

"IN TONI MORRISON'S Pulitzer Prize–winning novel Beloved (1987), we are told that the narrative—made tangible through the lives of Sethe, Paul D., Baby Suggs, Denver, and Beloved, to name a few—is 'not a story to pass on.' Some readers may interpret the line to mean that no one should ever have to experience the events of the novel in this way and that..."

Notes

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pp. 209-237

Bibliography

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pp. 239-253

index

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pp. 255-270

Permissions Ac knowledgments

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pp. 271-272