My interest in comparing Mexicana literature and Chicana literature began during a year of study at la Universidad Nacional Autónoma de México (UNAM) in Mexico City in 1990.¹ As a Chicana from a working-class background, my attraction to living and studying Mexicana literature in Mexico was based not only on my respect for and scholarly interest in the work, but also on my lived experience as a Chicana. Although I did not spend summers and vacations with family in Mexico, as did many of my friends (my roots are in Colorado and New Mexico), like others who self-identify as Chicana/o,...

Chapter 1 discusses the early work of Chicana feminist critics as well as more recent significant scholarship by Chicana critics. When analyzing these critics’ work as a whole, the following political/theoretical projects may be seen: (1) a redefinition and transformation of family institutions;¹ (2) a critique of the patriarchy in the dominant culture and in Chicanas’ own communities; (3) a collectivization of certain relevant cultural symbols; (4) an interrogation of harmful dualisms; and (5) an examination of issues of identity (especially sexual identity) and subjectivity.² The fiction I invoke in this analysis is in dialogue with this project.

One of...

In the 1980s in Mexico, women produced and published such an impressive body of work (in quantity and quality) that the period has been referred to as the literary boom.¹ Consequently, Mexicana literature is now being considered more broadly for critique. With the exception of the proceedings of the conferences sponsored by the Colegio de México Chicana literature, like Mexicana literature, is not always given the serious scholarly attention it deserves. Since the 1960s, however, Latin American literature has gained wide attention due to the increase in translated texts. Nevertheless, few critical studies have focused specifically on women’s contributions to...

The fiction of Helena María Viramontes is involved in the unique praxis of third world feminisms as it simultaneously examines multiple issues.¹ As one of the most socially and politically conscious writers of today, Viramontes presents global concerns in her short stories and proposes international coalitions through her narratives. The short story “Cariboo Café” (inMoths and Other Stories) crosses borders literally, figuratively, and formally; it expands the borders of a Chicana/o world linking with other communities of the Americas.

The work of Chandra Talpade Mohanty helps to frame this discussion. In “Cartographies of Struggle,” the introduction toThird World...

My project or “story” began in 1990 as a graduate student. As a woman I wanted to tell the story of brave Chicanas and Mexicanas who battled patriarchy. I hoped to describe the challenges, the struggles, the successes and sometimes failures of women who resist accepting the role that previous generations have handed down to them. I wanted to tell the story of the brave women who write about once-forbidden subjects and who have brought to life rich literary characters who question traditional, narrow interpretations of womanhood.

While part of my early quest took place in Mexico City, the latter...