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Journal Article
Beyond the Latina Boom
2019
Overview
This article aims to identify a lesser-known generation of female writers that has given a new direction to US Latina literature in the twenty-first century. Beyond the significance of the Latina boom that marked the 1980s and 1990s, the latest generation differs from their predecessors in important ways, amounting to a paradigm shift in US Latina literature that needs to be thoroughly explored. To carry out this task, I have selected three canonical Latina boom novels: Sandra Cisneros’s The House on Mango Street (1984), Julia Álvarez’s How the García Girls Lost Their Accents (1991) and Cristina García’s Dreaming in Cuban (1992). These texts will be contrasted with Angie Cruz’s Soledad (2001), Achy Obejas’s Days of Awe (2001) and Felicia Luna Lemus’s Trace Elements of Random Tea Parties (2004). My contention is that while the US Latina literary boom might have sought synthesis or the creation of a third space, associated with Gloria Anzaldúa’s consciousness of the borderlands, these twenty-first century female writers offer representations of nonnormative sexualities that take indeterminacy and ambiguity to a limit that defies all resolution.
Este artículo pretende identificar una generación de autoras, aún poco conocidas, que ha promovido una nueva corriente dentro del campo de la literatura latina estadounidense del siglo XXI. Más allá de la relevancia del boom latino de la década de los ochenta y noventa, esta nueva generación difiere de sus precesoras en importantes aspectos, evidenciando así un cambio de paradigma que se examinará a lo largo de este artículo. Para ello, se analizarán tres de las novelas canónicas del boom: The House on Mango Street (1984) de Sandra Cisneros, How the García Girls Lost Their Accents (1991) de Julia Álvarez y Dreaming in Cuban (1992) de Cristina García. Estos textos se contrastarán con Soledad (2001) de Angie Cruz, Days of Awe (2001) de Achy Obejas y Trace Elements of Random Tea Parties (2004) de Felicia Luna Lemus. La tesis de la que parto es que mientras las autoras del boom crean una síntesis o un tercer espacio asociado a la conciencia de la frontera de Gloria Anzaldúa, la generación más reciente de escritoras ofrece representaciones de sexualidades no normativas que ahondan en la ambigüedad impidiendo toda resolución.
Publisher
AEDEAN: Asociación española de estudios anglo-americanos
Subject
