Gloria Anzaldúa - Böcker

I Gläntas nya nummer samtalar den palestinska författaren Adania Shibli med Balsam Karam & Elisabeth Hjorth & Hanna Nordenhök. Tre samtal som har blivit en enda text. Här finns också konstkollektivet HAWAF som till Glänta producerat en specialversion av deras museum för Gaza, Sahab Museum, som går att vika ut ur numret. Dessutom ett kapitel ur Gloria Anzaldúas klassiska verk Borderlands / La Frontera, samt förintelseöverlevaren Jean Amérys text om självmordet. Samt dikter av Doaa Kamel, Sofia Junes, Leif Holmstrand och UKON. Och den tyska medieteoretikern Bernhard Siegerts genomgång av dörrar, och deras materiella och symboliska betydelser.

More than twenty years after the ground-breaking anthology This Bridge Called My Back called upon feminists to envision new forms of communities and practices, Gloria E. Anzaldúa and AnaLouise Keating have painstakingly assembled a new collection of over eighty original writings that offers a bold new vision of women-of-color consciousness for the twenty-first century. Written by women and men--both "of color" and "white"--this bridgewe call home will challenge readers to rethink existing categories and invent new individual and collective identities.

More than twenty years after the ground-breaking anthology This Bridge Called My Back called upon feminists to envision new forms of communities and practices, Gloria E. Anzaldúa and AnaLouise Keating have painstakingly assembled a new collection of over eighty original writings that offers a bold new vision of women-of-color consciousness for the twenty-first century. Written by women and men--both "of color" and "white"--this bridgewe call home will challenge readers to rethink existing categories and invent new individual and collective identities.

Born in the RÍo Grande Valley of south Texas, independent scholar and creative writer Gloria AnzaldÚa was an internationally acclaimed cultural theorist. As the author of Borderlands / La Frontera: The New Mestiza, AnzaldÚa played a major role in shaping contemporary Chicano/a and lesbian/queer theories and identities. As an editor of three anthologies, including the groundbreaking This Bridge Called My Back: Writings by Radical Women of Color, she played an equally vital role in developing an inclusionary, multicultural feminist movement. A versatile author, AnzaldÚa published poetry, theoretical essays, short stories, autobiographical narratives, interviews, and children’s books. Her work, which has been included in more than 100 anthologies to date, has helped to transform academic fields including American, Chicano/a, composition, ethnic, literary, and women’s studies.This reader-which provides a representative sample of the poetry, prose, fiction, and experimental autobiographical writing that AnzaldÚa produced during her thirty-year career-demonstrates the breadth and philosophical depth of her work. While the reader contains much of AnzaldÚa’s published writing (including several pieces now out of print), more than half the material has never before been published. This newly available work offers fresh insights into crucial aspects of AnzaldÚa’s life and career, including her upbringing, education, teaching experiences, writing practice and aesthetics, lifelong health struggles, and interest in visual art, as well as her theories of disability, multiculturalism, pedagogy, and spiritual activism. The pieces are arranged chronologically; each one is preceded by a brief introduction. The collection includes a glossary of AnzaldÚa’s key terms and concepts, a timeline of her life, primary and secondary bibliographies, and a detailed index.

Born in the RÍo Grande Valley of south Texas, independent scholar and creative writer Gloria AnzaldÚa was an internationally acclaimed cultural theorist. As the author of Borderlands / La Frontera: The New Mestiza, AnzaldÚa played a major role in shaping contemporary Chicano/a and lesbian/queer theories and identities. As an editor of three anthologies, including the groundbreaking This Bridge Called My Back: Writings by Radical Women of Color, she played an equally vital role in developing an inclusionary, multicultural feminist movement. A versatile author, AnzaldÚa published poetry, theoretical essays, short stories, autobiographical narratives, interviews, and children’s books. Her work, which has been included in more than 100 anthologies to date, has helped to transform academic fields including American, Chicano/a, composition, ethnic, literary, and women’s studies.This reader-which provides a representative sample of the poetry, prose, fiction, and experimental autobiographical writing that AnzaldÚa produced during her thirty-year career-demonstrates the breadth and philosophical depth of her work. While the reader contains much of AnzaldÚa’s published writing (including several pieces now out of print), more than half the material has never before been published. This newly available work offers fresh insights into crucial aspects of AnzaldÚa’s life and career, including her upbringing, education, teaching experiences, writing practice and aesthetics, lifelong health struggles, and interest in visual art, as well as her theories of disability, multiculturalism, pedagogy, and spiritual activism. The pieces are arranged chronologically; each one is preceded by a brief introduction. The collection includes a glossary of AnzaldÚa’s key terms and concepts, a timeline of her life, primary and secondary bibliographies, and a detailed index.

Light in the Dark is the culmination of Gloria E. AnzaldÚa's mature thought and the most comprehensive presentation of her philosophy. Focusing on aesthetics, ontology, epistemology, and ethics, it contains several developments in her many important theoretical contributions.

Light in the Dark is the culmination of Gloria E. AnzaldÚa's mature thought and the most comprehensive presentation of her philosophy. Focusing on aesthetics, ontology, epistemology, and ethics, it contains several developments in her many important theoretical contributions.

Fortieth anniversary edition of the foundational text of women of color feminism.Originally released in 1981, This Bridge Called My Back is a testimony to women of color feminism as it emerged in the last quarter of the twentieth century. Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, "the complex confluence of identities-race, class, gender, and sexuality-systemic to women of color oppression and liberation."Reissued here, forty years after its inception, this anniversary edition contains a new preface by Moraga reflecting on Bridge's "living legacy" and the broader community of women of color activists, writers, and artists whose enduring contributions dovetail with its radical vision. Further features help set the volume's historical context, including an extended introduction by Moraga from the 2015 edition, a statement written by Gloria Anzaldúa in 1983, and visual art produced during the same period by Betye Saar, Ana Mendieta, Yolanda López, and others, curated by their contemporary, artist Celia Herrera Rodríguez. Bridge continues to reflect an evolving definition of feminism, one that can effectively adapt to and help inform an understanding of the changing economic and social conditions of women of color in the United States and throughout the world.

Fortieth anniversary edition of the foundational text of women of color feminism.Originally released in 1981, This Bridge Called My Back is a testimony to women of color feminism as it emerged in the last quarter of the twentieth century. Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, "the complex confluence of identities-race, class, gender, and sexuality-systemic to women of color oppression and liberation."Reissued here, forty years after its inception, this anniversary edition contains a new preface by Moraga reflecting on Bridge's "living legacy" and the broader community of women of color activists, writers, and artists whose enduring contributions dovetail with its radical vision. Further features help set the volume's historical context, including an extended introduction by Moraga from the 2015 edition, a statement written by Gloria Anzaldúa in 1983, and visual art produced during the same period by Betye Saar, Ana Mendieta, Yolanda López, and others, curated by their contemporary, artist Celia Herrera Rodríguez. Bridge continues to reflect an evolving definition of feminism, one that can effectively adapt to and help inform an understanding of the changing economic and social conditions of women of color in the United States and throughout the world.

Det andra nummer av tre om migration handlar bl a om vägen från Gaza till Sverige, svenskars återmigration till Kurdistan, ex-jugoslaviska spritresor till Tyskland, migration till rymden, arbetskraftsinvandring till Brasilien, adoptionskritik i Sydkorea, ambassadören som migrant, att resa med döda kroppar, och innehåller översättningar av Gloria Anzaldúa, Hannah Arendt, Yoko Tawada med flera.

Essäer om historiska skott, dofternas språk, ormarnas inre. Dikter om före och om efter. Skalövningar. Foton som tittar tillbaka. Vägar till att överskrida den tänkbara framtiden, för Gaza, för alla. Och så några avslutande frågor.

A generative, genre-bending collection of nineteen intertwined stories by legendary writer, theorist, and activist Gloria E. Anzaldúa.Finalist for the 2026 PROSE Award in the Literature CategoryFinalist for the 2025 Foreword INDIES Book of the Year Award in the LGBTQ+ Fiction categoryBest known for Borderlands/La Frontera: The New Mestiza (1987), Gloria E. Anzaldúa was also a prolific fiction writer. Prieta Is Dreaming, a speculative novel-in-stories, follows the precocious Prieta from her childhood in South Texas to college and beyond as she tries to find her way in the world. Imbued with supernatural powers, Prieta traverses time, changes form, explores her desires, and defies convention. Started in the 1970s and revised up until Anzaldúa's death in 2004, Prieta Is Dreaming comes as a revelation, affirming Anzaldúa's place at the forefront of contemporary feminist, queer, and border theory, while transforming what we think about both her writing and ourselves. In these nineteen intertwined stories, we find some of Anzaldúa's most adventurous, inspired ideas about gender, sexuality, and the very nature of existence—as well as a character, la Prieta, as bold and memorable as the book itself.