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Stunned into Being: Essays on the Poetry of Lorna Dee CervantesFrom Wings Press
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Lorna Dee Cervantes is a pivotal figure throughout the Chicano literary movement and this book gathers 30 years’ worth of essays and articles about her as well as interviews with her. A fifth-generation Californian of Mexican and Native American (Chumasch) heritage, Cervantes is widely considered one of the most important Latina poets who drew tremendous power from her struggles in the literary and political trenches. This work explores the boundaries between language and experience and features a new collection of poems by the dynamic poet.
- Sales Rank: #1272074 in eBooks
- Published on: 2012-01-04
- Released on: 2013-08-01
- Format: Kindle eBook
Review
"This is what it means to be a poet, I tell myself, reading the thick, rich poems of Lorna Dee Cervantes. . . . If you love poetry, you’ve come to the right place." —Ana Castillo, poet, I Ask the Impossible
About the Author
Eliza Rodriguez y Gibson is an assistant professor of Chicana/o Studies at Loyola Marymount University, where she teaches courses on literature, cultural studies, and feminist theory. She lives in Los Angeles.
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Definitive secondary source
By Ella Diaz
Stunned Into Being offers readers more than its secondary title suggests. Editor Eliza Rodriguez y Gibson brings together critical essays published in the 1990s and focused on Cervantes’s earlier works, with new analyses of her most recent books of poetry. the arc of the secondary source offers a comprehensive record and future trajectory for the foundational Chicana poet. Further, Rodriguez y Gibson frames the collection, and brilliantly arranged essays, with an introduction that provides key biographical notes, a snapshot of Cervantes’s publishing history, and the major benchmarks of her career. The anthology concludes with a Q&A between scholar Jeanetta Calhoun Mish and Cervantes, which is beautifully transcribed, maintaining the conversational tone in which Cervantes often lectures to audiences both in community settings and in large academic forums. The Q&A also complements the progression of the scholarly essays since several scholarly claims echo in Cervantes’s author responses, further grounding the scholarship in the poet’s biography and intellectual vision of her work.
Turning to the essays selected by Rodriguez y Gibson, which she curates according to the theoretical and historical contexts in which Cervantes wrote and published her poetry, the first essay is an abridged version of Teresa McKenna’s “An Utterance More Pure than Word: Gender and the Corrido Tradition in Two Contemporary Poems.” Originally published in Feminist Measures: Soundings in Poetry and Theory (1994), McKenna’s adapted piece focuses on one of the earliest interventions Chicano/a literary critics made on the canon of American literature—the corrido. As border-ballads of the nineteenth-century disseminated in the U.S. southwest following annexation of the northern territories of Mexico, they reappeared as creative mode for the culturally nationalist Chicano Movement in the 1960s and 1970s. Corridos and their interpretations became firmly established as an androcentric space of cultural production by Chicano artists and poets (think Américo Paredes and Luis Valdez). Securing its place as an archetype and poetic form by several scholars including Ramón Saldívar (1990) and José E. Limón (1992), McKenna’s essay nods to the centrality of the male-centered corrido and its intellectual examination, but then turns to the similarities and differences within Cervantes’s long poems. McKenna traces the moments in which Cervantes’s poems like “Beneath the Shadow of the Freeway” echoes the resistance strategies of the corrido but also provides a sense of distance from the male realm of public voice against colonial, turned state, oppression (8). In other words, McKenna shows us that Cervantes, as a poet, must place herself against the “male-dominated story” that has “become a type of sanctioned official Chicano rhetoric” (8). Written twenty years ago, McKenna’s analysis of Cervantes’s poetry as both working with and against a tradition resounds powerfully in the critical turn toward notions of failure and affect in Chicana/o Studies scholarship in the humanities.
Adhering to the organization of the first section, or criticism of Cervantes’s first books, Emplumada (1981) and From the Cables of Genocide: Poems on Love and Hunger (1991), Rodriguez y Gibson next presents readers with an abridged version of Raúl Villa’s “Between Nationalism and Women’s Standpoint,” chapter five of his important book Barrio Logos (2000). The adapted essay pairs nicely with McKenna’s analysis because he focuses on Cervantes’s “freeway poems” from Emplumada but applies his concept of barriology, a theory and praxis for understanding urban change, like gentrification through rezoning and infrastructural development, with historical events, like colonization and annexation. Concerned with spatial questions posed in both poetry and in the real life of Chicana/o communities, Villa also delves into a brilliant application of a visual art lens provided by Amalia Mesa-Bains (1991) for reading strategies of making and presenting one’s self and doings called la domesticana. Moving the lens for Chicana art onto Cervantes’s poetry, Villa shows readers how to think about women’s work inter-generationally and the negotiations and navigations of the androcentrism explicit in the Chicano Movement and implicit in the invisibility of indigenous knowledges—which are often located in the voices and hands of viejitas, or the grandmothers who know other forms and paths of knowledge (59-61). Cervantes’s freeway poems are concerned with a “different discursive location on the oral-print continuum,” Villa writes, as he maps Cervantes’s sense of place (San Jose, California), which involves multiple temporalities (from Alta Mexico to California, 1848). Beginning the anthology of critical essays with such strong analyses of Cervantes’s earlier work, Rodriguez y Gibson sets the pedagogical pace for the next section, as the anthology moves to Cervantes’s latest books of poetry and turns to global locations, or really intersections, of the Chicana poetic ethos.
In the new criticism section on Cervantes’s Drive: the First Quartet (2006), a poetry anthology that contains five distinct but interconnected books, the essays are diverse in analytical perspectives. There are echoes between the poems discussed, which Rodriguez y Gibson accounts for in the introduction and uses as a point of organization for the essays; but the repetition of analyses of poems like “Bananas” and “Coffee” (from How Far’s the War inside Drive) is not redundant; rather, they offer different views or angles for looking at the poems, further elucidating the visual points that scholars like Tiffany Ana López make when arguing that “Cervantes’s poems function as linguistic photographs, a kind of poetic photojournalism” (192).
In fact, a critical intervention that several scholars make in their analyses of poems from Drive concerns Cervantes’s use of visual art as an origin point for the poetic practice. This is an important departure from traditional notions of objects of study in cultural analysis and further enforces the high aesthetic of her multidisciplinary poetic practice. This point also echoes in the biographical notes Rodriguez y Gibson makes in the introduction, informing readers that, as a literary activist, Cervantes founded Mango Publications in 1974, “at a time when most of Chicano writing was dominated by men” (ix). Alongside the writing of Chicano/a literature in the 1970s, male artists dominated the visual arts; but, as Cervantes’s profound career reveals, women were actively making, producing, and building Chicano/a art and literary infrastructure, whether or not they were acknowledged by vanguard Chicano/a scholars or canonized in American letters.
The section of new criticism offers groundbreaking analyses of Cervantes’s long anticipated Drive (2006). Tanya González’s essay on “Bird Ave” explores the stereotype and poetic performance of “bad girls” from the neighborhood and is a poem in which Cervantes delves into the complexity of the “presenting face” of Chicana adolescence (Mesa-Bains 1990). But González goes one step further, advancing a multidimensional analysis that draws on feminist scholarship on girl culture in the center of fields in Women’s Studies. Likewise, Juan Mah y Busch presents readers with a powerful essay on the origins of Cervantes’s secondary title for Drive. Mah y Busch draws our attention to T.S. Eliot’s poem Four Quartets (ca 1941-1942) and the question of integrity with which he grapples concerning ‘universal’ concerns of ethics and morality. Mah y Busch pushes readers to think differently about Cervantes’s intention with morality, truth-telling, and worth, accounting for Cervantes’s training in her graduate studies regarding the study of value theory and meta-ethics, a philosophical education and background that is often not considered when evaluating Chicana/o poetry.
Mah y Busch’s comparison between a canonical poet and epic work in American literature with Cervantes’s Drive readies readers for the analysis of global Chicana feminism in Rodriguez y Gibson’s “The Poetry of Improbability,” which surveys the evolution of Cervantes’s positionality as a Chicana, an identity of locality, indigeneity, and particular historical context, to an accountability of third world identifications. “Bananas” and “Coffee” are deeply engaging poems that unveil the Chicana-Indigena progressivist’s first world problems with the third world blues. But the evolution of Cervantes as a global feminist is not really a stretch, as she herself roots global feminism within Anzaldúan thought on the cultural borderlands of mestiza consciousness. In the concluding interview section of the book, Cervantes brilliantly paraphrases a complex theoretical frame for Chicana/o Studies, evincing her scholarly legs amid a book that analyzes her poetic masterpieces. Coupled with Gibson y Rodriguez and Tiffany Ana López’s analyses of the performative and visual elements of Drive, (the latter of which is read through lenses of trauma theory), the interview with Cervantes offer students and scholars innovative approaches to reading her canon, a legacy that is very much born in the twenty-first century.
External Citations:
Limón, José. Mexican Ballads, Chicano Poems: History and Influence in Mexican-American Social Poetry. University of California Press, 1992.
Mesa-Bains, Amalia. “Chicano Bodily Aesthetics” in Body/Culture: Chicano Figuration, pages 6-13. Rohnert Park, CA: University Art Gallery, Sonoma State University, 1990.
Saldívar, Ramón. Chicano Narrative: The Dialectics of Difference. Madison, WI: The University of Wisconsin Press, 1990.
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