War Echoes: Gender and Militarization in U.S. Latina/o Cultural Production

Works Cited

coda / 195 idea that such protection may and should include the use of force and the reality that the recipients of such force are disproportionally poor, brown, and/or female. As “ICE/El Hielo” reminds us, art—whether it be a music video, a novel, a film, a poem, or a digital image—can be a powerful means of prompting and meditating on these considerations. Embedded in and related to a history of colonialism and imperialism, along with neo-imperialism and militarized, gendered, and racialized violence, the narratives analyzed in this book offer us the ability to assess and understand the changing face of the United States and the world. These narratives are valuable for the stories they tell about the history of Latina/o engagements with U.S. military intervention, a history that must be told because it contributes to a larger and more complete understanding of the history of U.S. Latinas/os as well as U.S. Latina/o cultural production. A glocal perspective is best able to do justice(andImeanthatineverysenseoftheword)tothedifficultrealitywe face. Such a perspective can honor the specific histories—of resistance to U.S. military intervention in Latin America, of Central American revolutionary movements, of transnational solidarity, of antiwar activism—and connect these particular issues, people, and events to an ongoing situation. This viewpoint, moreover, can help us to see events and processes of love, of revolution, of war on an individual, local, national, and transnational scale simultaneously. Such an analysis, that acknowledges the individual within the larger movement and the larger movement within the individual , offers us a much needed perspective on our history and our present day, but also, I hope, our future. Notes Introduction 1. “[Following a world economic crisis in the 1970s,] the story goes, capitalism . . . had to innovate by undoing the rigidities of national economic regulation and mass production” (Joseph 2002b, 72). 2. Borderlessness is used here to describe the flows of transnational capital and finance, not the movement of people. Throughout this book I use the term transnational to capture the increased flow of finance and goods without denying the continued power of the nation. 3. “Part of the seductiveness of the global/localization story (by contrast with the globalization as totalizing story) is that it seems such a precise answer to the yearning for community produced in the Romantic narrative. But it is too perfect an answer; it reiterates the very terms of the Romantic discourse of community. In a blatant disavowal of the transformation process it describes, most popular iterations constitute community as autonomous from capitalism and modernity” (Joseph 2002b, 75). See Joseph (2002a) for a more in-depth consideration of discourses of community in relation to capitalist processes. 4. Chela Sandoval (2002, 26) suggests that a “methodology of emancipation” develops oppositional powers that are “analogous to but at the same time homeopathically resistant to postmodern transnationalization.” 5. See “Masculinity as a Foreign Policy Issue” in Enloe 1994. 6. The campaign to alter the film lasted several months and received a range of responses from Burns and PBS. Originally Burns defended his refusal to reedit the film as “artistic freedom,” but eventually the film was amended to include the voices of Latino and Native American service members. An organization, Defend the Honor, was formed to pressure Burns to make the changes, and the American GI Forum and Maggie Rivas-Rodríguez, director of the U.S. Latino and Latina World War II Oral History Project at the University of Texas at Austin, also played important parts. 198 / notes to pages 11–14 7. Interestingly the funeral parlor director, Tom Kennedy, was not himself a native of Texas but had moved to the area from Pennsylvania and opened the business only a week before Beatrice Longoria’s request. Kennedy went to Texas looking for a fresh start after sustaining tremendous trauma during his own time in the service. His life and actions challenge the idea that northern Anglos were less inclined toward racism and that military service forged cross-racial bonds between soldiers. 8. Both the documentary and Patrick J. Carroll’s (2003) book on the topic discuss the case in relation to the rise to power of Johnson and Kennedy, the Viva Kennedy clubs, and increasing political participation (and demands) on the part of Mexican Americans. 9. Despite my use of sequential numbers (first, second, third), I am not indicating a temporal relationship between these...