Beruflich Dokumente
Kultur Dokumente
F eminism
&
Psychology
Feminism & Psychology
22(2) 261270
! The Author(s) 2011
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DOI: 10.1177/0959353511415969
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Liliana Vargas-Monroy
Pontificia Universidad Javeriana, Bogota-Colombia
Keywords
Borderlands, Gloria Anzaldua, Latin America, Postcolonial theory, Women-of-color
feminism
262
which clearly resembles the physical features of Anzaldua. I will begin with a
fragment of the text which condenses the dierences I would like to draw attention
to, italicizing below what will serve as the central point of my reection:
A mestiza stands with one foot in Texas and one foot in Mexico. She is taming a
diamond-back rattlesnake with one hand and manipulating the Hubble telescope with
another . . .. La Mestiza Cosmica is the kind of modest witness coming into existence
at the end of the Second Christian Millennium, when what can count as freedom,
justice, knowledge, and skill are again very much at stake in the mutated experimental
way of life . . .. La Mestiza Cosmica is historically specic, located in a particular time,
place, and body; she is, therefore, a gure representing the kind of global consciousness a modest witness should cultivate. The rattlesnake and the four hands suggest a
mode of consciousness called the Coatlicue state, associated with an Aztec goddess, as
theorized by Gloria Anzaldua. Not unlike Anzaldua, who maintains a necessarily eclectic altar on her computer, Randolphs mestiza joins the snake and the Hubble telescope to
demonstrate the kind of vision needed in the New World Order. (Haraway, 1997: 20)
Using the dierence proposed between the Mestiza Cosmica and Anzalduas
mestiza, I suggest that this contrast evokes two dierent narratives: one, the narrative that Haraway builds from her idea of a cyborg conscience, and the other the
narrative that Anzaldua has constructed in Borderlands/La Frontera.
The work of Donna Haraway implies a strong critique of certain forms of scientic knowledge. In this text, Haraway (1997) critiques the experimental point of
departure that develops a particular form of testimony, dening modesty as one of
its central virtues.1 The virtue of modesty that characterizes the Modest Witness
the scientist implies the concealment of its positions, emotions and opinions, with
a certain inexpressiveness which renders invisible the subject who is speaking.
Haraway proposes, with some humor, that this allows him (sic) to speak as a
legitimate ventriloquist of the objective world:
Modesty is one of the founding virtues of what we call modernity. This is the virtue
that guarantees that the modest witness is the legitimate and authorized ventriloquist
for the object world, adding nothing from his mere opinions, from his biasing embodiment. And so he is endowed with the remarkable power to establish the facts. He
bears witness: he is objective; he guarantees the clarity and purity of objects. His
subjectivity is his objectivity. His narratives have a magical power they lose all
trace of their history as stories, as products of partisan projects, as contestable representations, or as constructed documents in their potent capacity to dene the facts.
The narratives become clear mirrors, fully magical mirrors, without once appealing to
the transcendental or the magical. (1997: 24)
For Haraway (1997), the Modest Witness is the basis for the model of western
science, both European and masculine, which has followed us to the present day
and which has facilitated the notion of objectivity, establishing a strong
Vargas-Monroy
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dierentiation between the object and subject of knowledge. This form of disembodied knowledge, through dierent discursive mechanisms, brings about the concealment of its positions and interests. Against the Modest Witness, Haraway
introduces a new subject of knowledge which she calls the Mutated Modest
Witness who is capable of an embodied form of knowledge.
In this way, Haraway (1997) does not completely abandon the Modest Witness;
rather, because of her faith in science (I sign into this religion she says to us in her
text Crittercam: Haraway, 2007: 185), she suggests the Mutated Modest Witness
with a viewpoint that is situated and has not only the capacity to reect, but also to
diract knowledge. Her proposal is a critique of illustrated science, which paradoxically is located within the same tradition, indicating a mutation in its path.
This is why Haraway can arm her faith in science; it is also why her mestiza is
accompanied by the Hubble telescope.
The fragment quoted initially seems to indicate that she nds material for this
new Mutated Modest Witness in the new Mestiza proposed by Anzaldua (2007) in
Borderlands/La Frontera. Nevertheless, the fragment also clearly indicates that the
line separating Randolphs mestiza and Anzalduas mestiza is not a tenuous one:
The Mestiza Cosmica connects the snake and the telescope of Hubble, while
Anzalduas mestiza identies with the snake and with the state of conscience
called Coatlicue, proposed in the mystical tradition, within the knowledge of the
indigenous Mexican cultures (Haraway, 1997: 37). This is why Anzalduas mestiza
necessarily supports an eclectic altar, perhaps distinguishing her destiny from that
of the Mestiza Cosmica. The two mestizas are, however, sisters and it could be
concluded that Haraway nds in the one (Anzalduas mestiza) the inspiration for
the other.
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world system. Hence border thinking could be a powerful and emergent form of
comprehension or episteme that absorbs hegemonic forms of knowledge from the
perspective of the subaltern (Mignolo, 2003).
As subaltern, queer and someone of the third world in the United States,
Anzaldua (2007) recognizes herself as being multiply situated, complex, contradictory and many in one. This is why she chooses to narrate her experience from
categories that are not part of the dominant Anglo-Saxon culture, where she is contradictorily immersed. Thus, she constructs new histories and a new and powerful
narrative that proposes not only another history, but also another subjectivity, one
unimaginable from the advantageous position of the Cyclops-type self-satised eye
of the dominant subject. (Haraway, 1997: 9).
Anzalduas (2007) theory arises then from her own history and connects with the
emergence of new spaces, of new narratives of refuges, which she constructs by
weaving her histories with the subaltern knowledge of the indigenous Mexican
people. In considering fragments of the texts of Anzaldua, I will present particular points where border feminism involves epistemological ruptures and challenges
for scientic knowledge (including their mutated versions) as well as for psychology, a clear inheritor of this form of thought. In doing this, I would like to bring
out some of the possible queries that could be posed in this sense from the work of
Anzaldua.
Vargas-Monroy
265
appears as undetermined, a place which is constantly in transition and which produces a feeling of unease. In this way, if illustrated science generates strong and
established binary logics, subversion arises with the promise of the territories of
transition and borders. Lugones (1994) sees the gure of the mestiza as one of
resistance, capable of inhabiting these borderlands, since she herself is
unclassiable.
In dierent texts, Anzaldua (2002, 2007, 2009) suggests a form of knowledge
which challenges the rational dichotomy of the modern/colonial world system and
makes the way to the borderland possible. Her elaborations, therefore, have a
dierent point of demarcation working from an undetermined area between feminist critique, theory and the narrative. Her writing also departs from many of the
traditional forms of writing in the disciplines of the West. For Anzaldua, writing
must be alive and must produce transformations. When she writes, she goes to
narratives which rearticulate and recreate indigenous traditions, recovering the
voice of another type of knowledge; in her writing the word jumps, hurts and
heals; it is, in fact, a spellbinding word.
This knowledge has a dierent voice, an intonation and a melody that speaks,
and is impossible to nd in the voice of the Modest Witness; Anzalduas voice is
alive and her writing has a force, implying a trip and a transition.5 In this way it is
impossible to separate words such as knowledge, charm and transformation in
her work:
I look at my ngers, see plumes growing there. From the ngers my feathers, black
and red ink drips across the page. Escribo con la tinta de mi sangre. I write in red. Ink.
Intimately knowing the smooth touch of article, its speechlessness, before I spill myself
on the insides of trees. (Anzaldua, 2007: 93)
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Vargas-Monroy
267
subjectivity as the center of knowledge; and nally the third one rejects (scientic) control, and rather appeals to the experiences of uncertainty, transition and
crisis.
The displacement from an essentialist way of thinking to a non-essentialist perspective has been signaled as a movement to decolonize feminism (Suarez Navas
and Hernandez, 2008). This movement contributes to a more complex feminism
and to the constitution of an always mobile feminine subject.
268
In following Anzaldua in the exercise of constructing new narratives, it is possible to wonder if in these times humankind is inhabiting the black ground in which
Coatlicue, goddess of multiplicity, keeps her detainees immobile until they successfully integrate, thus bringing opposites closer. As the western mind is busy and
immobilized, perhaps something is germinating in the dark, deep ground of the
unconscious (Aigner-Varoz, 2000). Anzaldua speaks to us about a knowledge that
refuses to disappear. This knowledge is in a battle to the death with other forms of
knowledge that have lost the way to the borderlands.
Notes
1. This concurred with the arguments of Shapin and Schaffer (1985) in their studies on
Robert Boyle, a scientist of the 17th century who was considered one of the founding
fathers of experimental science (identified in the work as a modest witness).
Vargas-Monroy
269
2. Discussing this issue, Paula Moya (1997) makes a critique of postmodern feminism. To
Moya, postmodern feminism has generated a way of considering the differences that
paradoxically eliminate such differences. I am following this critique when I insist on
the distinction between the Mestiza Cosmica and Anzalduas mestiza.
3. Recovering a Nahuatl word, Anzaldua calls the borderlands: Nepantla, the spaces in
between worlds. Her proposal is that transformation occurs in these places which are
unstable and unpredictable, producing fear and anxiety.
4. Mestiza is a word that designates a person of mixed race, in Latin America the offspring
of a Spanish American and an American Indian. In Anzalduas work the word could be
used as a metaphor of different kinds of mixtures.
5. Keating (2005) proposes that Anzaldua shapes her theory as transformative writing or
Shaman aesthetics; her stories (prose and poetry) have the ability to transform the
storyteller and the listener into someone or something else.
6. Boderlands/La Frontera is written in three languages: Nahualt, Spanish and English. This
is a gesture that contests the dominance of English as the main academic language.
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