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Ethnoqueer Rearchitexturing of Metropolitan Space
- Nepantla: Views from South
- Duke University Press
- Volume 1, Issue 3, 2000
- pp. 581-604
- Article
- Additional Information
Nepantla: Views from South 1.3 (2000) 581-604
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Ethnoqueer Rearchitexturing
of Metropolitan Space
Frederick Luis Aldama
In La Mollie and the King of Tears (1996) and Days of Obligation (1992) respectively, novelist Arturo Islas and journalist Richard Rodriguez pen homographic texts that queer the contemporary Chicano/a and mainstream U.S. textual landscape. Islas and Rodriguez create first-person narrating subjects—a smooth-talking pachuco straight man, Louie Mendoza, for Islas, and a hesitantantly vulnerable yet penetratingly bold gay self-as-narrator for Rodriguez—who journey through world cityscapes to destabilize zones of hegemonic control, then reinhabit and reinscribe such zones without a north-versus-south, straight-versus-bent oppositionality. The authors thus invent “autoethnographic” texts (cf. Pratt 1989 and José David Saldívar 1997) that sidestep old-school us/them models for understanding the formation of the subaltern self, re-placing their protagonists within a metrotextual space that allows for a panoply of selves to coexist within one self.1 To this end, Rodriguez and Islas soften time and disemplot character to shift their ga(y)ze to subjectivity as informed by its various spatializations. Their multispatialized texts spin Chicano/a literature into, as Ramón Saldívar (1990, 65) writes, the “heterotopian social spaces of the imaginary… within the real conditions of existence.” This move to locate Chicano/a subaltern subjectivities in the contemporary U.S. metroplex doesn’t originate with Islas and Rodriguez. Speaking to the rise of urban Chicano novels generally, critic Juan [End Page 581] Bruce-Novoa (1986, 105) claimed, “If the novel gives us an accurate reading of the Chicano community… we can say that our community is less sexually repressive than we might expect…. This makes the Chicano [urban] novel a progressive space for dialogue, an appropriate space in and through which a more androgynous and humane Chicano identity may be forged.” Since the early 1970s, Chicano/a textscapes have looked increasingly to the formation of the Chicano/a in the city. Arturo Islas in La Mollie and the King of Tears and Rodriguez in Days of Obligation turn to the metropolis to invent coexisting subjects that multiply inhabit palimpsestic city-spaces that enfold race, sexuality, class, and gender. Not surprisingly, the texts that Arturo Islas and Richard Rodriguez build to house their multiple coexisting metroplexed subjects destabilize conventional genre and storytelling technique. For example, in La Mollie Islas shifts gears from his other mythopoetically narrated, pastorally [End Page 582] set dynastic novels—The Rain...