CHICANO LITERATURE: INTRODUCTION AND BIBLIOGRAPHY

THE CULTURAL ROOTS OF THE CHICANOS LIE IN THE SPANISH CONQUEST OF Mexico, yet their
history as Mexican-Americans or Chicanos, as they were later to call themselves, begins on
February 2, 1848, when the treaty of Guadalupe Hidalgo was signed, officially ending the war
between Mexico and the United States. This is the great divide in Chicano history. The treaty
drew a new boundary between Mexico and the United States whereby Mexico ceded more
than 1,360,000 square kilometers, almost half of its territory, to the United States. Mexican
land north of the Rio Grande and Gila Rivers became U.S. territory and eventually the states of
Arizona, California, Colorado, Nevada, New Mexico, Texas and Utah. Thus, Northern Mexico
materialized as the Southwest of the United States and the Mexican citizens residing within this
territory became permanent residents of the United States. This residency was, for the great
majority in the area, forced upon them; in many respects, it relegated former Mexicans to a
second class status and set the stage for a long conflict with the North Americans, the
repercussions of which can still be heard.

It is within this historical context that the roots of Mexican-American or Chicano literature are
to be found. The Southwest has to this day maintained much of the cultural heritage of its
former mother country south of the border; this is to a certain extent due to continued
reinforcement through close cultural interrelations and migrations across the border of 1848, a
border which many Chicanos consider to be an artificial one. As Chicano dramatist Luis Valdez
states: "We did not in fact come to the United States at all. The United States came to us." This
historical reality and the continuous Hispanic presence in the annexed areas since the sixteenth
and seventeenth centuries give the Chicanos an important place in the cultural history of the
United States, an importance, however, which has been largely slighted or ignored. This distinct
cultural and historical background also differentiates Chicanos from other Hispanic groups in
the United States, the reason why exclusive attention is given to the Chicanos in this article.
Although Chicanos have much in common with Puerto Ricans and Cubans living in the
continental United States, the respective points of reference of these groups are different and
deserve attention in their own right.

The origin and meaning of the term "Chicano" is still being debated, and while there have been
many suggestions, no definite explanation has been found. Some linguists ascribe its origins to
the Nahuatl Indian pronunciation of the word "Mexican," suggesting that in the sixteenth
century "Mexicano" was pronounced as "Me-chi-ca-no." Later it was, allegedly, taken up by the
Anglos in the border region and used as a derogatory term to identify a Mexican-American. It is

1
unclear when the term Chicano gained popular usage, but it is largely agreed that it carried
negative connotations in the past. With the rise of the Chicano Movement in the 1960s, young
militant Chicanos adopted this traditionally derogatory term in a defiant stance of self-
assertion; "Chicano" took on ideological meanings and became a term of cultural self-
affirmation, celebrating the Spanish, Indian, and Mexican cultural heritage of the people of
Mexican ancestry residing within the United States. It was initially a very radical term and was
predominantly used among young people, but it has since gained wider acceptance. However,
as a politically charged term, it is still not accepted or used by a large portion of the people it is
supposed to denote. There are other widely used terms: "Hispanic" is a more generic term used
for all people of Spanish descent; "Mexican-American" refers specifically to people of Mexican
ancestry. Although these terms mean different things both historically and ideologically they
are often used interchangeably with the term "Chicano."

Hispanics are by far the fastest growing minority group in the United States. According to the
United States Census Bureau, the hispanic population grew thirty-six percent during the 1980s
to become more than twenty million, and it is projected to grow twenty-seven percent during
the next decade. Given the present growth rate, it is very likely that the Hispanics will comprise
the largest minority group in the United States. According to the United States Census Bureau,
the hispanic population grew thirty-six percent during the 1980s to become more than twenty
million, and it is projected to grow twenty-seven percent during the next decade. Given the
present growth rate, it is very likely that the Hispanics will comprise the largest minority group
in the United States by the year 2000. Of all Hispanics living in the United States, approximately
sixty-three percent are Chicanos.

INTRODUCTION TO CHICANO LITERATURE

The signing of the Treaty of Guadalupe Hidalgo in 1848 established the conditions which
shaped the political, social, and cultural position of the Mexicans living in the conquered
territory and their descendants, the Chicanos. Overnight, Mexican citizens became a disdained
minority in a foreign nation, a reality which has influenced Chicano cultural expression ever
since. They have since been called "the invisible minority," "the forgotten people," or "the silent
minority" and have largely been regarded as "strangers in their own land." It is no surprise that
the literary records of these people have been obscured, silenced or forgotten.

What is generally referred to as Chicano literature is the relatively recent phenomenon which
grew out of the Chicano Movement, the socio-political civil rights movement of the mid-1960s.
Yet, this body of literature did not emerge from a cultural or literary vacuum, but was rather a
proliferation of continuous literary activities among the Mexicans living in the United States.
Thus, a more inclusive view of Chicano literature goes back to the year 1848 when the
conditions for a particular Chicano consciousness were created, and it reveals a people's

2
imaginative response to changing cultural, social and political conditions through a century and
a half. Seen in this light, the Chicano literature of the last three decades is the culmination of
long-standing sentiments and traditions. It should also be kept in mind that when the Chicanos
first became residents of the United States, they had already established oral and literary
traditions which reached far into the past; thus contemporary Chicano literature can be said to
have roots going back to the writings of some of the first Europeans who found | their way to
what is now considered the United States.

I. Pre-Chicano Literature (to 1848)

During Spanish colonization there developed a literary tradition among the conquistadores
which took the form of chronicles, reports, correspondence, and diaries. In much the same
manner as the British settlers wrote of their experiences on the Atlantic coast, so the first
Spanish explorers who came to the Southwest and California left behind first-hand descriptions
and semi-historical writings describing their responses to the New World. The earliest example
of these is the Relacion by Alvar Nunez Cabeza de Vaca, published in Zamora, Spain in 1542.
Cabeza de Vaca was one of the few survivors of an expedition shipwrecked off the coast of
Florida in 1528. For eight years he wandered through what is now Texas, New Mexico, and
Arizona until he came upon some Spanish explorers. The Relacion is a narrative description of
not only the landscape of the Southwest, but also of life among various Indian tribes of the
region. Another of these early accounts, Relacion de descubrimiento de las Siete Ciudades by
Fray Marcos de Niza, describes part of present New Mexico and Arizona and reveals to what
extent the explorers were influenced by their own European and Judeo-Christian myths in their
approach to the New World. Relacion de la jornada a Cibola by Pedro de Castaneda de Najera
describes Corondo's expedition into New Mexico, a search for gold that took him as far north as
present-day Kansas.

Significant among the early writings is La Historia de la Nueva Mexico by Gaspar Perez de
Villagra. Villagra was a soldier in Juan de Ohate's expedition into New Mexico in 1598. With
permission from the Spanish crown to colonize the northern frontier of New Mexico, Onate led
his expedition of ten Franciscans and 129 soldier-colonists into New Mexico where he founded
San Gabriel, the first European settlement in the Southwest. Villagra's Historia is an epic poem
consisting of thirty-four rhyming cantos which chronicle the Spanish entry into New Mexico and
the subsequent fierce subjugation of the rebellious Pueblo of Acoma. As with other writings of
this period, it also includes descriptions of the landscape and people of the region.

Other early works to be mentioned are Viaje by Hernando Alarcon and Viaje y descubrimiento
by Juan Rodriguez Cabrillo, both accounts of expeditions along the California coast in 1540 and
1543 respectively; Cronica by Baltasar de Obregon (1584), El viaje que hizo Antonio de Espejo
(1586) by Antonio Espejo, and Memorial (1630) by Fray Alonso de Benavides are all descriptions

3
of expeditions into New Mexico. What distinguishes Memorial from the other accounts is the
particular attention Fray Alonso gives to the Indians of the area.

During the 1600s there were relatively few expeditions into the Southwest and California due
to the meager outcome of previous explorations. In the 1700s renewed interest--this time
religious--brought friars into the area to establish missigns. Since these granted some degree of
protection, settlers followed the friars to set up permanent communities around the missions.
During the next century these residents left behind a great number of diaries and descriptive
narratives, continuing the traditions of the early explorers. Among these are the diaries of many
friars, such as Fray Juan Crespi, Fray Pedro Font, Padre F. Garces, Fray Junipero Serra, and
others; the four-volume Noticias de la Nueva California by Fr. Francisco Palou, and La Poesia de
Miguel de Quintana (1693) by Miguel de Quintana, a mystic who wrote both poetry and drama;
Cronica (1746) by Fray Isidro Felix de Espinosa and Cronica serafica (1792) by Fray Juan
Domingo Arricivita, accounts of Mission life in Texas during the 1700s; some religious writings
such as Manual para administrar los santos sacramentos (1760) by Fray Bartolome Garcia; and
a host of memoirs, travel accounts and other descriptive accounts of life in the Southwest
during this period.

Along with the written literature there developed a rich and extensive oral tradition among the
people who came to the Southwest and California. Beginning with the very first expeditions,
religious plays were enacted as a means of communication with the natives of the region. It is,
for instance, known from Villagra's records that in 1598 the age-old Spanish pageant-drama
Moros y cristianos was performed for the Indians, most likely as a warning. Among the
descendants of the first settlers religious plays, secular plays, romances, corridos, and folktales
became an integral part of life, and although based on old Spanish traditions, they took on
distinct characteristics as they developed in the Southwest. l Los Comanches, a secular folk
drama about the conflicts between the settlers and l the Indians, is a good example of how
these traditions were shaped by the environment and the particular circumstances of life in
that region. The same development is also apparent in the romances, corridos, and folktales of
this early l period. l

When Mexico gained independence from Spain in 1821, the Southwest and l California became
part of the Republic of Mexico. One important change which l Mexican independence brought
to the region was the abandonment of the Spanish policy of excluding foreign traders, and
consequently the Santa Fe Trail was l opened. This linked New Mexico with the United States
and brought Anglo traders l into the region, a development which had far-reaching
consequences. Anglo settiers in great numbers moved into the the Southwest and California
and became increasingly influential in these areas. With support from the government of the
United States, Texas was proclaimed independent from Mexico by Anglo settlers in 1836. The

4
increased tension between the United States and Mexico culminated in the Mexican-American
War in 1846. This period is important in the development of a Chicano consciousness and,
consequently, for the development of Chicano literature, because during this time the people
of the Southwest and California had to come to terms with their relationship with Mexico to the
south and with the rapidly encroaching United States to the east.

II. Chicano Literature (1848-1959)

With the signing of the Treaty of Guadalupe Hidalgo social, political and cultural conditions
were established which influenced and shaped the future lives of the Mexican population living
in the conquered territories. The vast majority of the Mexicans chose to remain in their native
region and they continued their cultural and literary traditions in much the same manner as
before the political change.

The years from 1848 to 1910 have been called by some critics the transition period during
which Mexican-Americans developed distinct social and cultural perspectives. Since the
possibilities for formal education were very limited until well until the twentieth century, we
have to look to the oral tradition for the development of such perspectives. The narrative
ballads, the corridos, seem particularly to echo prevailing sentiments in the population: the
conflict between the Mexican-Americans and the Anglo-Americans becomes a major theme and
many of the corridos are composed as social protest; the tone of defiance present in them does
not appear in the written material of the time. Another example of this trend is a popular
drama of the period, The Texans, which depicts the conflict between Texas and New Mexico
after Texas independence. The play is based on an historical incident in 1841 when Texans
attempted to annex parts of New Mexico.

Writers continued to use traditional literary forms and produced a host of descriptive narratives
of personal or semi-historical character. Among these are Cosas de California (1877) by Antonio
Franco Coronel, Recuerdos (1875) by Florencio Serrano, and Noticias historicas de la Antigua y
Nueva California (1875) by Fr. Francisco Palou. Writers were conscious that customs and
traditions might be endangered and recorded these in works such as Vida y aventuras (1878) by
Augusto Janssens and Vida de un ranchero (1877) by Jose del Carmen Lugo. The vast majority of
Mexican-American writers of the transition period wrote in Spanish, a literal manifestation of
cultural identity. Among the works written in English is Miguel Antonio Otero's autobiography
about life in the old West, My Life on the Frontier, and Tough Trip Through Paradise, 1878-
1879, a picaresque narrative by Andrew Garcia.

It is during this period that the first works of narrative fiction by Mexican-Americans make their
appearance. Eusebio Chacon's El hijo de la tempestad (1892) is a short romance interspersed

5
with folklore; Tras las tormenta la calma (1892) also by Eusebio Chacon, is a love story with
traditional plot development and characterization.

Between 1848 and 1910 there was very little immigration from Mexico to the United States.
With the Mexican Revolution, however, many Mexicans fled the turmoil of the revolution and
crossed the border. This large influx of Mexican immigrants strengthened the Mexican-
American communities in the Southwest and California and reinforced the traditional language
and culture of the region, bolstering its ties to the former mother country to the south.

One outcome of these developments was the formation of societies which were to serve both
cultural and social needs in the community. Spanish-language periodicals and newspapers
enjoyed a growing popularity and welcomed to their columns not only social debate and
political essays, but also an increasing number of creative works. Publications such as LULAC
News (Texas) and Alianza (Arizona) played an important role in the development of Chicano
literature because they published poetry, short stories, novels, and scholarly articles at a time
when the publication possibilities for Mexican-Americans were extremely limited. The now
famous Mexican novel Los de abajo (The Underdogs) by Mariano Azuela was published by the
newspaper El Paso del Norte in 1915. Some of the poets who appeared in these publications
were Vicente Bernal, Felipe Maximiliano Chacon, and Fr. Angelico Chavez; among the short
story writers are names such as Arthur L. Campa, Fr. Angelico Chavez, Felipe M. Chacon, and
Adolfo Carillo.

Much of the early Chicano short fiction was heavily influenced by the traditional cuento and the
oral tradition of storytelling, and many of the short story writers who followed continued to
develop this literary trend. Mexican Village (1945) by Josephina Niggli consists of ten related
stories set in northern Mexico. The stories are a chronicle of the village life of Hidalgo and Niggli
makes extensive use of traditional folktales and proverbs. The Chicano community is the
protagonist in the works of another short story writer, Mario Suarez, who began publishing in
the late 1940s. Many of his stories are set in El Hoyo ("the Hole"), a barrio in Tuscon, Arizona,
and depict the lives of the people of that barrio.

The entry of the United States into World War II brought great changes to the Chicano
community. Thousands of Chicanos enlisted to go to war under the banner of the United States,
and after having fought for democracy abroad they expected--much like the Afro-Americans
and the American Indians--no less for their own people in their own country. However, their
expectations were frustrated as they returned home after the war. During the war ethnic
relations between Chicanos and Anglo-Americans had become increasingly tense: the so-called
Zoot Suit Riots in Los Angeles in June of 1943 turned old hostilities between these two groups
into open confrontations. These incidents deeply affected the Chicano community and brought
about a heightened degree of social and cultural awareness among Chicanos in the post-war

6
years. This awakening of ethnic consciousness led to the Chicano Movement of the early 1960s
and a surge in literary expression.

III. Contemporary Chicano Literature (1959-1989)

With the advent of the Civil Rights Movement during the 1960s, Chicanos began to assert
themselves politically as well as culturally. This new tone of self-assertion permeates much of
Chicano literature published in the past thirty years. The Movement changed the very character
of Chicano literature and a new type of literature emerged which explored all the various facets
of the Chicano experience: works of social protest took on a tone of defiance in their
denunciation of social conditions in the Chicano communities; the concept of Aztlan, the
ancient Indian homeland in the Southwest, came to be a central symbol of Chicano cultural
affirmation; the question of mezlizaje, of being of mixed European and Indian ancestry, led
writers to rediscover the Indian roots of their cultural heritage. Writers sought a synthesis of
the dual Mexican-American identity in their writings and expressed that synthesis through
language and theme. The founding of Chicano publishing houses, such as Quinto Sol, and the
appearance of many literary journals and quarterlies exclusively dedicated to Chicano letters
(Atzlan, El Grito, Con Safos, De Colores, Encuentro Feminil among many others), played an
important role in the growth of this body of literature.

FICTION

The cultural conflict experienced by individuals of a binary cultural heritage and their
subsequent search for identity are the central themes of many of the works during the 1960s
and the 1970s. The question of cultural identity is the focus of what is generally considered to
be the first Chicano novel, Pocho (1959), by Jose Antonio Villarreal. The protagonist rejects the
Mexican traditions of his parents, but unable to identify with the North American culture, he
asks himself, ". . .who the hell were his people." He refuses in the end any culturally determined
definitions and joins the US army: " . . . he knew that for him there would never be a coming
back." Other works by Villarreal are The Fifth Horseman (1974), a historical novel of the
Mexican Revolution, and Clemente Chacon (1984), a Chicano Horatio Alger story.

The search for selfhood is also the central theme of City of Night (1963) by John Rechy. This
novel, basically a work of autobiographical fiction, follows the protagonist as he ventures from
his native El Paso, Texas, into the homosexual underground of major cities in the United States.
The question of an ethnic Chicano identity, however, is overshadowed by the protagonist's
struggle to define himself as a homosexual in an overwhelmingly heterosexual world. Rechy's
subsequent novels pursue the author's exploration of the urban homosexual underground, but
with a varying degrees of success: Numbers (1967), This Day's Death (1969), The Vampires
(1971), The Fourth Angel (1973), and Rushes (1979).

7
Chicano (1970) by Richard Vasquez takes the Mexican Revolution as its point Of departure and
portrays the Sandoval family as it ventures north from Mexico into California. Although the
novel is marred by ethnic and sexual stereotypes, it captures the migration experience and the
changes which take place within the Sandoval family as succeeding generations adapt to the
American way of life.

Representative of the literature which grew out of the Chicano movement is The Plum Plum
Pickers (1969) by Raymond Barrio. The novel thematically reflects the farm workers movement,
headed by Cesar Chavez, which was organized during this period to alleviate the plight of the
farm workers. It is stylistically influenced by El Teatro Campesino, a theatre group led by Luis
Valdez, which brought the theater into the fields to raise consciousness and inspire workers to
social action. A social protest novel in the tradition of The Grapes of Wrath, the novel sets out
to expose the gross exploitation of migrant field workers by agricultural business.

The predicament of the farm workers is also the theme of the Chicano classic . . . y no se lo
trago la sierra (1971) by Tomas Rivera. The farm worker's experience is explored through the
psyche of a young boy who has to forge his own identity within that environment. The
protagonist refuses to accept oppression as fate, as generations before him have done, and
gains in the end a strong sense of self through an affirmation of the Chicano community.

The works of Rudolfo Anaya center around the concept of Aztlan and the affirmations of a
mestizo heritage. Bless Me, Ultima (1971) won Anaya national and international recognition.
The focus of this initiation novel, set in rural New Mexico, is the young protagonist striving to
shape his own identity out of the different strands of his Spanish, Mexican, and Indian cultural
roots. Other works by Rudolfo Anaya are Heart of Aztlan, which probes further into the spiritual
identity of Aztlan, and Tortuga, a compassionate tale about terminal illness and man's
indomitable will to live.

The search for identity is satirically described in The Autobiography of a Brown Buffalo (1972)
by Oscar Z. Acosta. Acosta's protagonist lacks a sense of belonging either in the U.S. or in
Mexico, and only after a long journey across the country and into Mexico does he come to
realize that his ethnic identity defies national borders. His second novel, The Revolt of the
Cockroach People (1973) is a satire of both the Chicano Movement and the Chicano
community.

Rolando Hinojoas is one of the most prolific Chicano writers. Estampas de Valle y otras obras
(1973) is the first in a series of narratives which depict the collective life of a fictive Chicano
community in the Rio Grande Valley of Texas. In succeeding publications, which the author has
chosen to call the "Klail City Death Trip Series," Hinojosa continues his saga about Belken
County: Klail City y sus alrededores (1976), Mi querido Rafa (1981), Rites and Witnesses (1982),

8
The Valley (1983), Partners in Crime (1985), Dear Rafe (1985), and Claros Varones de Belken
(1986). Much of the story-line in these works centers around the most influential Anglos of
Belken County and their manipulation of the political and economic system to maintain an
existing Anglo-Chicano power relationship in which the Anglos have most of the advantages.
These clandestine dealings are revealed to the reader through the multiple perspectives of
community gossip and an omniscient narrator-manipulator-writer, revealing the social, cultural,
and psychological relationships existing between the Anglos and the Chicanos of this
community. Hinjosa's ability to re-create the inter-lingual quality of Chicano speech and his
magnificent blend of humor and satire make him one of the most accomplished Chicano
writers.

Alejandro Morales published his first novel, Caras viejas y vino nuevo in 1975. The novel, which
Morales dedicated to the barrio where he grew up, "Pare mi barrio, que estara conmigo
siempre", is set in the barrio of Simons, California. The fragmented and often chaotic narrative
style reflects the complexity of urban barrio life, its violence and its self-destruction, the
context of a young Chicano's daily life. In La verdad sin voz (1979), his second novel, Morales
explores what happens when idealism and the realities of barrio life meet in the fictive town of
Mathis, Texas. The idealistic protagonist is defeated but another character, a Chicano professor,
continues the protagonist's cause by writing his story, La verdad sin voz (the truth without
voice). It is significant that both novels were published in Mexico. Says Morales in 1975: "Como
autor chicano, espero que pronto llegue el die en que no me vea obligado a salir de mi propio
pais pare publicar una novela escritia en espanol." Morales continued publishing with Reto en
el Paraiso (1983) and The Brick People (1988). Reto en el Paraiso, almost epic in its scope,
explores Chicano history and society through a vast panorama of personal experiences. It is an
innovative, complex novel which experiments with English-Spanish language usage, narrative
structure, and temporal perspectives. The Brick People (1988), his first novel written in English,
is an historical novel of California from the perspective of Mexicans who migrated north during
the Mexican Revolution to become laborers at the Simons Brick Factory. Morales blends
history, myth and legends as he explores the fate and destiny of the brick workers.

Another substantial contribution to Chicano letters is Aristeo Brito's El Diablo en Texas (1976),
an extraordinary attempt to capture the effect decades of oppression and extreme poverty
have had on the collective psyche of a small community in southern Texas. For the people of
the Presidio, life is an eternal struggle between good and evil; with evil always having the upper
hand: "El diablo esta listo pare seguir su chiste eterno." Brito's ample use of myths and symbols
fuse the real and the fantastic, and his experimentation with narrative strategies in attempting
to capture the history as well as the psycho-history of his pueblo makes this a rich novel: "No, si
no crea, esta large la historia...."

9
Memories of the Alhambra (1977) by Nash Candelaria is the first in a trilogy of historical novels
about the Rafa family of New Mexico and the first Chicano novel to deal with the question of
identity faced by those Chicanos who do not consider themselves Mexican, but Spanish. Jose
Rafa, in his vehement denial of his Mexican mestizo roots, goes to Spain to find proof of his
Spanish ancestors, while his son attempts to gain a different understanding of his mestizo past.
Candelaria continues his saga about the Rafa family of New Mexico with Not by the Sword
(1982) and Inheritance of Strangers (1985). Both novels are based on the history of hew Mexico
and explore the personal dramas and conflicts which the conquest by the United States
effected among the New Mexicans. Not by the Sword, set in the years 1846-1847, portrays the
resistance the American occcupation evoked. In Inheritance of Strangers, Candelaria turns to
New Mexico of the 1890s. Woven into the story of New Mexico of that decade are memories of
an old man as he tries to pass on to his grandson the history of his people.

Ron Aria explores the barrio experience of the Chicano through the use of magical realism. The
Road to Tamazunchale (1978) is the story of an old man's confrontation with his own
impending death: moving back and forth between reality and fantasy, he sets out for
Tamazunchale (death), and drawing on his memory of a long life and much reading, he invents
adventures in which he is accompanied by a host of real and imagined characters. A humorous
parody of modern literature, this narrative is one of the most sophisticated by a Chicano
author.

Lionel G. Garcia is one of the many Chicanos who published his first works during the 1980s.
Leaving Home (1985) is set in California during the period just prior to World War II and renders
with much humor and pathos the escapades of an aging, alcoholic ex-baseball player and the
various types he happens to hitch up with as he travels around in search of a place where he
can make a fresh start. Equally humorous is Garcia's second novel, A Shroud in the Family
(1987), set in Texas. Against the background of family memories of the Texas-Mexican past, the
novel develops around a successful Chicano lawyer in Houston who suffers from an acute
identity crisis and is asked by his psychiatrist: "Have you noticed that you don't have any
personality?" Garcia here turns the search for identity into a humorous satire of the upper-
middle class life of those Chicanos who have "made it" in present-day Houston.

Among other newcomers to Chicano letters is Arturo Islas with The Rain God (1984). Blending
Indian myths, family history and personal recollections, The Rain God is an outstanding
portrayal of the protagonist's struggle to reconcile his Mexican past with his present life as a
young university professor. Max Martinez's first novel Schoolland (1988) is a coming of age
novel set in rural Texas and depicts Texas-Mexican life during the hardships of the 1950s. Also
set in Texas, but with a focus on the Texas-Mexican border is Rainbow's End (1988) by Genaro

10
Gonzalez. A chronicle of three generations, this novel explores the development of a border
region which has taken on a life and a culture of its own.

Chicana writers published their first novels during the 1970s. Through their focus on female
experiences and female world views they add a new and crucial dimension to Chicano
literature. In Come Down From the Mound (1975) by Berta Omelas the female protagonist is
torn between a personal relationship and political commitment. Victuum (1976) by Isabella Rios
explores the female coming of age process. An added dimension to this search for the self is her
metamorphosis into a psychic, going beyond the individual self to take on universal dimensions
of knowledge.

The strong presence of Chicana writers has further distinguished the present decade of Chicano
letters. What generally characterizes the Chicana novel is a focus on the cultural and social
forces with which women have to come to terms in a patriarchal society. The female
protagonists of these novels have to define themselves not only as Chicanas within Anglo-
American society, but also as women in a male-dominated Chicano culture. Another general
trend in the Chicana novel is experimentation with narrative structure and form, a trend that
could indicate a need to find new forms to better reflect a distinct female experience.

The outstanding characteristic of Puppet (1985) by Margarita Cota-Cardenas is its experimental

nature. The novel explores the personal and social manipulations which dominate
contemporary life, a theme which is reflected in the author's manipulations of language and
narrative strategies through the novel.

The House on Mango Street (1985) by Sandra Cisneros received the American Book Award and
is probably the most widely known Chicana novel. It is a collection of short vignettes, all
connected through the narrative voice of Esperanza. In lyrical, imaginative prose she narrates
incidents in her life as she passes from childhood to adulthood. As the novel proceeds, this
particularly feminine voice grows in maturity and self-assurance, the voice of the writer in the
making. The Last of the Menu Girls (1986) by Denise Chavez is another Chicana coming of age
novel where the female protagonist rejects prescribed roles and opts for a life as a writer.
Interrelated stories reflect different stages of the female protagonist's rites of passage into
womanhood. Chavez's second novel, Face of an Angel (1988), is about women, families, and
concepts of work and private life.

Cecile Pineda has published two novels which have received high critical acdaim. Face (1985) is
set in Brazil and is the story of a man's reconstruction of his own face. Frieze (1986), set in Java
during the tenth century, is a tale of a stonecutter who, despite his condition as a captive in a
forced labor camp, shapes his world through art. Both works are highly allegorical; they are

11
obviously set far from the Chicano community and relate to the Chicano experience only
through allusion.

Trini (1986) by Estela Portillo Trambley takes the Mexican Revolution as its point of departure
and traces a woman's migration from her indigenous Mexican village to the United States, an
ordeal which transforms her perceptions of self.

Setting the tone for The Mixquihuala Letters (1986) by Ana Castillo, is a quote from Anais Nin: "I
stopped loving my father a long time ago. What remained was slavery to a pattern." The novel
is a collection of letters in which the protagonist, Teresa, tries to come to an understanding of
herself by refusing to adhere to prescribed roles and patterns of life. In another first novel,
Alma Luz Villanueva's The Ultraviolet Sky (1988), this rejection of prescribed sex roles is
conducive to the female protagonist's search for personal and artistic independence. The most
recent Chicana novel, Delia's Song (1989) by Lucha Corpi, also centers around the question of
female self-identity: how does a Chicana feminist shape her own life as a woman within a male-
oriented Chicana culture? Corpi examines the close connections between the political, social,
and personal spheres in life, and the challenges these create for a protagonist who is trying to
define herself as a Chicana.

Contemporary Chicano authors have also written a lot of short fiction. Sabine Sabine a prolific
short story writer, has continued the old tradition of the cuento and has become the traditional
storyteller of Chicano letters. His publications include Tierra Amarilla: Cuentos de Nuevo
Mexico/Stories of New Mexico (1971), Mi abuela fumaba puros/My Grandmother Smoked
Cigars (1977), Primeros encuentros/First Encounters (1982), Governor Glu Glu and Other
Stories (1988), and El Condor and Other Stories (1989). Ulibarri's stories center around his
native Tierra Amarilla in the mountains of northern New Mexico and explore the folklore and
mores of Hispanic life. Drawing on the oral traditions of New Mexico, his stories tread the fine
line between myth and reality in their portrayal of local legends and personalities. Emerging
from his work is a strong sense of the daily life and traditions among the people of Tierra
Amarilla.

In sharp contrast to Ulibarri's work stands Blue Day on Main Street (1973) by J.L. Navarro. These
short stories are set in the urban barrio milieu and portray the alienation, violence, and self-
destruction that are part of the barrio experience.

Rain of Scorpions: And Other Writings (1975) by Estela Portillo Trambley is a collection of
stories which are characterized by their allegorical quality; the struggle between good and evil
forces is a recurring theme of these stories. Portillo also brings a feminine perspective to her
writing in her treatment of how Chicanas relate to traditions and what their gender roles are
within the Chicano culture.

12
Arturo Rocha Alvarado turns his attention to migrant farm workers. Cronica Ide Aztlan: A
Migrant's Tale (1977) is a work of social protest which chronicles the rootlessness and
alienation at the core of the migratory life. The experiences of migrant farm workers is also the
subject of another collection of short stories, Hay plesha lichans tu di flac (1977) by Saul
Sanchez. The central theme of these stories, narrated by the son of a Texas migrant worker, is
the clash of cultures. Indicative of this theme is the title, Hay plesha lichans tu di flac, a phonetic
transcription of a Spanish-speaking child's attempt to pronounce "I pledge allegiance to the
flag." The stories reflect the bewilderment, fear, and frustration experienced by the young
narrator as he confronts the difficulties of his situation.

In Tunomas Honey (1981) by Jim Sagel, the author returns to his native Espanola in northern
New Mexico. Many of the stories in this collection, set in and around Espanola, explore the
traditional Hispanic culture of this area and the changes it undergoes with the changing lifestyle
of the younger generations.

Cuentos Chicanos: A Short Story Anthology, edited by Rudolfo A. Anaya and Antonio Marquez,
presents an excellent collection of short stories by some of the finest Chicano writers. Among
these are "B. Tavern is Alive and Well in Cuernavaca" by Rudolfo A. Anaya, "Lupe" by Ron Aria,
"The Manuscript" by Bruce-Novoa, "Ghost Talk" by Ana Castillo, "Willow Game" by Denise
Chivez, "The Wedding" by Lionel G. Garcia, "The Migrant" by Mario Suarez, and many others.

The central theme of The Moths and Other Stories (1985) by Helena Maria Yiramontes is the
roles of women within a male-dominated society. With a strong feminist stance, Viramontes
depicts the lives of Chicanas from young adulthood to old age, examining issues such as female
creativity, female sexuality, and the institution of marriage. Some of these themes recur in
Beverly Silva's The Cat and Other Stories (1986) and Mary Helen Ponce's Taking Control (1987).
The authors portray many different aspects of the lives of Chicanas from feminist perspectives,
examining the economic and the political position these hold within society.

Gary Soto, an accomplished poet, has published two collections of short stories, Living Up the
Street (1985) and Small Faces (1986). These fine collections of poetic prose center around the
process of coming of age in the Chicano community of Fresno, California. The quiet humor
which is present in much of Soto's work turns into satire in The Adventures of the Chicano Kid
(1982) by Max Martinez and The Last Laugh and Other Stories (1988) by Hugo Martinez-Serros.
In these two collections the writers take a humorous and satirical approach to many social and
cultural issues which affect the Chicano community.

AUTOBIOGRAPHY

Among the autobiographical works published by Chicanos is Barrio Boy (1971) by Ernesto
Garlaza, a first-person account of the migration north from a small Mexican village at the
13
advent of the Mexican Revolution. It provides an interesting insight into the experiences and
trials facing the Mexican after crossing the border during the first decades of this century. The
movie actor Anthony Quinn's autobiography, The Original Sin: A Self Portrait (1974) portrays his
early poverty-stricken childhood in Mexico and centers around his subsequent coming of age in
the Chicano barrio of Los Angeles during the 1920s and 1930s. More controversial is Richard
Rodriguez's autobiography Hunger of Memory: The Education of Richard Rodriguez (1982).
Alternately praised and denounced by critics, it is composed of a series of eloquent reflections
on the role education played in the author's life, from the moment he entered school as a
"socially disadvantaged" child, knowing only a few English words, to his completion of a
doctoral degree. Although the same process that assimilates him into the US society alienates
him from his family and his culture, Rodriguez defends it as the only viable solution to the social
inequalities. His provocative positions on issues such as ethnic identity, affirmative action, and
bilingual education have been highly criticized by fellow Chicanos.

POETRY

Poetry has been one of the favorite modes of expression among contemporary Chicano writers.
The literature abounds with collections of poetry, far too numerous to be given individual
attention here. A selection of a few representative works reflects some of the themes and
developments which have characterized Chicano poetry during the last three decades.

A landmark in contemporary Chicano poetry is I am Joaquin/Yo soy Joaquin; appearing in 1967

it set the tone for much of the poetry which followed. Written by the Chicano activist Rodolfo
Gonzales, the founder of "Crusade for Justice," this epic poem chronicles Chicano history and
calls for liberation. Joaquin, a Chicano Everyman, seeks to return to the roots of Chicano
culture, roots which reach back to Mexican and indigenous cultures. The poem is also a call for
unity and revolution, for reclaiming lost land, and the dignity and pride of the mestizo identity.
As a poetic political manifesto, reflecting the political and cultural movement of its time, I am
Joaquin is probably the most widely known Chicano poem.

One of the most prolific Chicano poets, Alurista (nom de plume of Alberto Baltazar Urista)
published his first collection of poems Floricanto en Aztlan in 1971. Alurista's foremost
contribution to the development of a distinct Chicano poetic voice is his experimentation with
English-Spanish bilinguality and his use of Pre-Columbian myths and traditions in his poetic
explorations of contemporary Chicano identity and reality. In his work Alurista strives for a
synthesis of the different strands of the Chicano cultural heritage, the Indian, the Mexican and
the American, a synthesis which is underscored by the Chicano language in which Spanish and
English are blended into one interlingual code. Among his further publications are Nationchild
Plumaroja (1972), Timespace Huracan: Poems 1972-1975 (1976), A'nque (1979), Spik in Glyph ?
(1981), Return: Poems Collected and New (1982), and Dawn's Eye (1985).

14
An attempt to reach a cultural and aesthetic synthesis through creative means is also present in
the work of Abelardo Delgado. As a poet of the Chicano Movement, much of his poetry carries
a note of protest and is characterized by its oppositional quality: the poet sees the Chicano
community and American society at opposite poles and the role of the poet, caught in the
middle, is to bridge that opposition through political and artistic means. Among Delgado's
numerous collections of poetry are Chicano: 25 Pieces of a Chicano Mind (1971), Bajo el sol de
Aztlan: 25 soles de Abelardo (1973), It's Cold: 52 Cold Thoughts-Poems of Abelardo (1974), Here
Lies Lalo: 25 Deaths of Abelardo (1977), and Unos perros con metralla/Some Dogs With
Machine gun (1982).

Another social protest poet of the 1970s is Sergio Elizondo. Perros y anti-perros (1972) is an
epic review of Chicano history, which is characterized by antagonism and angry rejection of
Anglo-American values. The very title, Perros y anti-perros, reflects the poet's view of the
relationship between the dominant Anglo-American society and the Chicano world. Much of
her later work is also characterized by social protest, yet it strikes a more mellow tone,
indicative of the general trend away from the confrontational, and often didactic, social protest
poetry of the Chicano movement.

The social and political is a latent and integral part of the introspective and contemplative work
of Tino Villanueva, one of the forerunners of Chicano poetry. His work reflects a vast array of
literary influences, North American as well as South American, and thus becomes a
manifestation of the cultural synthesis which is fundamentally Chicano. His poetry explores,
both linguistically and thematically, the double consciousness which Villanueva sees at the
center of the Chicano bicultural existence. Among Villanueva's collections of poetry are Hay
Otra Voz: Poems (1968-1971) (1972), Shaking Off the Dark (1984), and Cronica de mis anos
peores (1987).

Another poet who avoids the overtly political and didactic is Gary Soto. The winner of major
poetry awards, Soto writes highly metaphorical poetry where the crafted image carries the
poetic voice. A prolific poet, his first and best known collection, Elements of San Joaquin (1977)
centers around his experiences in the fields of San Joaquin Valley of California; it was followed
by The Tale of Sunlight (1978), Where Sparrows Work Hard (1981) and Black Hair (1985).
Another celebrated Chicano poet is Jimmy Santiago Baca. His recently published Martin and
Meditations on the South Valley, two long narrative poems which center on the mestizo of New
Mexico, has won high critical acclaim. Among his publications are Immigrants in Our Own Land
(1979), Swords of Darkness (1981), and What's Happening (1982).

Bernice Zamora and Loma Dee Cervantes are among the poets who attain a more personal and
indirectly political note in their work. In Restless Serpents (1976) Zamora approaches Chicano
reality from a personal and feminine perspective, exploring the various polarities, sexual and

15
cultural, which define her life as a Chicana; her poetry becomes a search for a harmonious
junction between these opposites. Emplumada (1981) by Lorna Dee Cervantes, has been hailed
as one of the best collections of poetry in Chicano literature. Her narrative social poems and
Iyrical poems combine the public and the private, inner and outer conflicts, as Cervantes probes
into questions of identity, as a Chicana, as a woman, and as a writer.

During this last decade a growing number of Chicana poets have appeared on the literary scene
with collections of poetry which add an important feminine perspective to the general body of
Chicano literature. Among these can be mentioned Bloodroot (1977) by Alma Villanueva,
Palabras de Mediodia/Noon Words (1980) by Lucha Corpi, Mother May I and Women Are Not
Roses (1984) by Ana Castillo, Woman, Woman (1985) by Angela de Hoyos,and My Wicked
Wicked Ways (1987) by Sandra Cisneros.

DRAMA

Contemporary Chicano theatre builds on a long-standing tradition of Hispanic theater in the

United States. As early as 1598 religious plays were performed by the first settlers, and theater
came to be an integral part of the Hispanic cultural traditions which developed throughout the
Southwest and California. After 1848, theaters played an essential role in the Chicano
communities as they took on social functions as centers for cultural preservation and
community solidarity. This concept of the theater as the cultural and ideological voice of the
community, or la raza, became the guiding principle behind the development of El Teatro
Campesino during the 1960s and 1970s.

El Teatro Campesino, led by Luis Valdez, was in many respects the artistic representation of the
social and cultural politics of the Chicano Movement, and it developed one of the most creative
and original manifestations of Chicano art during this period. El Teatro Campesino originated as
an artistic support of the organizing efforts of Cesar Chavez among the farm workers and the
subsequent grape boycott and strike in Delano, California in 1965. On picket lines and in the
fields and vineyards, El Teatro Campesino performed el acto, a short, satirical, and often largely
improvised sketch which dramatized social issues affecting the Chicano community and the
farm workers in particular. Later El Teatro Campesino developed another genre, el mito. Based
on the Indian heritage of the Chicano, el mito explores the Indian myths and world views as
they relate to contemporary Chicano life. The language of Chicano theater is predominantly
Chicano, an interlingual blend of English and Spanish. El Teatro Campesino has inspired the
creation of many other Chicano theater groups which have as their objective the artistic
reflection of the social and political concerns of the community.

Luis Valdez, the most influential figure in Chicano theater, has edited Actos: El Teatro
Campesino (1971), a collection of plays containing some of the best productions by El Teatro

16
Campesino. Most of these were written by Luis Valdez himself and are characterized by the
social protest which has been at the center of the theatre since its creation. Jorge Huerta,
another leading figure within Chicano theatre, edited El Teatro de la Esperanza: An Anthology
of Chicano Drama (1973), a collection of seven short plays intended to heighten the cultural,
social and political consciousness of their audience.

Another collection of Chicano plays, Contemporary Chicano Theatre: An Anthology (1976)

edited by Roberto J. Garza, brings together the works of some of the best Chicano playwrights.
The collection includes Estela Portillo Trambley's well known The Day of the Swallows, a drama
which reveals great psychological depth and thematic complexity in its portrayal of homosexual
relations and human struggle for survival. Another well-known play included in this collection is
Los Vendidos by Luiz Valdez, a comic satire about Chicano who have become assimilated, or
"sell-outs." Bernabe, also by Valdez, explores the mythical roots of the Chicano love for the
land.

Nuevos Passos: Chicano and Puerto Rican Drama (1979), a special issue of Revista Chicano-
Riquerla, includes four works by Chicano playwrights. Among these are Ron Arias's The
Interview, a one-act comedy about the confrontation of an assimilated Chicano student with a
barrio vagrant, and Ruben Sierra's Manolo, a portrayal of a young Chicano who returns from
Vietnam as a drug addict.

Fuasto Avendano's El Corrido de Aztlan (1979) is an epic three-act dramatic exploration of the
evolution of a distinct Chicano culture that is neither Mexican nor American. The False Advent
of Mary's Child and Other Plays (1979) by Alfonso Hernandez centers around the predicaments
homosexual Chicanos within their own culture and the American society at large have, touching
upon issues such as religion, sexuality, and social repression.

Estela Portillo Trambley, one of the finest Chicana playwrights, has published a collection of
four plays, Sor Juana and Other Plays (1983). Central to Portillo's work is her concern for
women's struggle for autonomy, a theme she explores in Sor Juana, Puente Negro, Autumn
Gold, and Blacklight. Carlos Morton's The Many Deaths of Danny Rose and Other Plays (1988)
includes among others El Jardin, Los Dorados, and Rancho Hollywood. Morton is one of the
more prolific Chicano playwrights, and he has been lauded for his innovative and daring
approach.

During the three decades since the publication of Pocho a dramatic change in ethnic self-
perception has taken place in Chicano literature, a development which reflects on the social
and cultural context from which this body of literature has emerged. The inevitable force of
assimilation reflected in early works gave way to sentiments, very much influenced by the
Chicano Movement, of cultural manifestation and self-assurance vis-a-vis the dominant culture;

17
ethnic identity, a major theme, was defined by opposition. The ethnic sentiments encountered
in many recent Chicano novels, however, are a comfortableness with ethnicity and a cultural
introspection which is trying to define itself on its own terms. Within this cultural introspection
we find the Chicana authors who challenge their won Chicano culture for its chauvinistic
tendencies. The multiple perspectives reflected in the recent publications expand the literary
boundaries of Chicano literature to an extent that they increasingly defy any easy literary or
cultural definitions.

Works Cited

Eysturoy, Annie O., and Jose Antonio Gurpegui. "Chicano Literature: Introduction And
Bibliography." American Studies International 28.1 (1990): 48. America: History and Life with
Full Text. Web. 12 Aug. 2013.

Persistent link to this record (Permalink):

http://search.ebscohost.com/login.aspx?direct=true&db=31h&AN=9609191165&site=ehost-
live

SUGGESTED INTRODUCTORY READINGS

Acuna, Rodolfo. Occupied America: The Chicano's Struggle Toward Liberation. 3rd edition. New York:
Harper &Row, 1987.

Alford, Harold ) The Proud Peoples: The Heritage and Culture of Spanish-Speaking Peoples in the United
States. New York: McKay, 1972.

Baker, Houston A., Jr., ed. Three American Literatures: Essays in Chicano, Native American, and Asian
American Literature for Teachers of American Literature. New York: Modern Language Association of
America, 1982.

Bruce-Novoa, Juan. Chicano Authors: Inquiry by Interview. Austin: University of Texas Press, 1980; Books
on Demand, University Microfilms, Ann Arbor, Ml.

-----. Chicano Poetry: A Response to Chaos. Austin: University of Texas Press, 1982.

Candelaria, Cordelia. Chicano Poetry: A Critical Introduction. Westport, CT: Greenwood Press, 1986.

Duran, Livie Isauro, and H. Russell Bernard, eds. Introduction to Chicano Studies. New York: Macmillan
Publishing Co., Inc., 1982.

18
Garcia, Eugene E., Francisco A. Lomeli and Isidro D. Ortiz, eds. Chicano Studies: A Multidisciplinary
Approach. New York: Teachers College Press, 1984.

Herrera-Sobek, Maria. Beyond Stereotypes: The Critical Analysis of Chicana Literature. Binghamton, NY
Bilingual Review Press, 1985.

Huerta, Jorge A. Chicano Theater: Themes and Forms. Ypsilanti, Ml: Bilingual Press/Editorial Bilingue,
1979.

Jimenez, Francisco, ed. The Identification and Analysis of Chicano Literature. New York: Bilingual
Press/Editorial Bilingue, 1982.

Kanellos, Nicolas. Mexican American Theater: Legacy and Reality. Houston, TX: Latin American Literary
Review Press, 1987.

Lattin, Vernon E., ed. Contemporary Chicano Fiction: A Critical Survey. Binghamton, NY: Bilingual Review
Press, 1985.

Leal, Fernando de Necochea, Francisco Lomeli and Robert G. Trujillo, eds. A Decade of Chicano
Literature (2970-1979J: Critical Essays and Bibliography. Santa Barbara: Editorial La Causa, 1982.

Lewis, Marvin A. Introduction to the Chicano Novel. Houston: Arte Publico Press, 1984.

Lomeli, Francisco A. and Carl R. Shirley, eds. Dictionary of Literary Biography Vol. 82: Chicano Writers,
First Series. Columbia, SC: Bruccoli Clark Layman, Inc., 1989.

Sanchez, Maria. Contemporary Chicana Poetry: An Approach to an Emerging Literature. Berkeley:

University of California, 1985.

Shirley, Carl R., and Paula W. Shirley. Understanding Chicano Literature. Columbia, SC: University of
South Carolina Press, 1988.

Sommers, Joseph and Tomas Ybarra-Frausto, eds. Modern Chicano Writers: A Collection of Critical
Essays. Englewood Cliffs, NJ: Prentice-HaD, 1979.

Tatum, Charles. Chicano Literature. Boston: Twayne Publishers, 1982.

BIBLIOGRAPHY PRIMARY SOURCES Novels

Acosta, Aldalberto Joel. From Common Clay. New York: Maryland Press, 1978.

Acosta, Oscar Zeta. The Autobiography of a Brown Buffalo. San Francisco: Straight Arrow Books, 1972.

-----. The Revolt of the Cockroach People. San Francico: Straight Arrow Books. 1973.

Anaya, Rudolfo. Bless Me, Ultima. Berkeley, CA: Quinto Sol Publications, 1972.

-----. Heart of Azilan. Berkeley, CA: Editorial Justa Publications, 1976.

19
-----. Tortuga. Berkeley, CA: Editorial Justa Publications, 1979.

-----. The Legend of La Llorona: A Short Novel. Berkeley, CA: Tonatiuh-Qunito Sol International, 1984.

Apodaca, Rudy. The Waxen Image. Mesilla, NM: Titan Publishing Company, 1977.

Aranda, Charles. Dudes or Dud. Alburquerque, NM: Carlos Press, 1984.

Arias, Ron. The Road to Tamazunchale. Alburquerque, NM: Pajarito Publications, 1978.

Barrio, Raymond. The Plum Pickers. Sunnyvale, CA: Ventura Press, 1969.

Brito, Aristeo. El Diablo en Texas. Tucson, AZ: Editorial Peregrinos, 1976.

Candelaria, Nash. Memories of Alhambra. Ypsilanti, MI: Bilingual Press/Editorial Bilingue, 1977.

-----. Not by the Sword. Tempe, AZ: Bilingual Press/Editorial Bilingue, 1982.

-----. Inheritance of Strangers. Binghamton, NY: Bilingual Press/Editorial Bilingue, 1985.

Cardenas, Leo. Return to Ramos. New York: Hill and Wang, 1970.

Castillo, Anal The Mixquiahuala Letters. Binghamton, NY: Binlingual Press/Editorial Bilingue. 1986.

Chacon, Eusebio. El hijo de la tempestad; Tras la tormenta la calma. Santa Fe, NM: Tipografica de "El
Boletin Popular," 1982.

Chavez, Denise. The Last of the Menu Girls. Houston: Arte Publico Press, 1986.

-----. Face of an Angel. Houston, TX: Arte Publico Press, 1988.

Chavez, Fray Angelico. The Lady from Toledo. Fresno, CA: Academy Guild Press, 1960.

Cisneros, Sandra. The House on Mango Street. Houston: Arte Publico Press, 1985.

Corpi, Lucha. Delia's Song. Houston: Arte Publico Press, 1988.

Cota-Cardenas, Margarita. Puppet. Austin, TX: Relampago Books Press, 1985.

De Casas, Celso. Pelon Drops Out. Berkeley, CA: Tonatiuh-Qinto Sol International, 1982.

Delgado, Abelardo. Letters to Louise. Berkeley, CA: Tonatiuh-Quinto Sol International, 1982.

Elizondo, Sergio. Muerte en una estrella. Houston: Arte Publico Press, 1984.

Espinosa, Aurelio. Conchita Arguello: Historia y novela Californiana. New York: The Macmillan Company,
1938.

Fuego, Laura del. Maravilla. Encino, CA: Floricanto Press, 1988.

20
Garica, Lionel. Leaving Home. Houston: Arte Publico Press, 1985.

-----. A Shroud in the Family. Houston: Arte Publico Press, 1987.

Gonzalez, Genaro. Rainbow's End. Houston: Arte Publico Press, 1988.

Gonzalez, Laurence. Jambeaux. New York: Harcourt Brace Jovanovich, 1979.

-----. The Last Deal. New York: Athenaeum, 1981.

-----. El vago. New York; Athenaeum, 1983.

Hinojosa, Rolando. Estampas del Valle y otras obras. Berkeley, CA: Editorial Justa Publications, 1973.

-----. Klail City y sus alrededores. Habana, Cuba: Casa de las Americas, 1976.

-----. Generaciones y semblanzas. Berkeley, CA: Justa Publications, 1977.

-----. Generaciones, notas y brechas. San Francisco: Casa Editorial, 1978.

-----. Mi querido Rafa. Houston: Arte Publico Press, 1981.

-----. Rites and Witnesses. Houston: Arte Publico Press, 1982.

-----. The Valley: A Re-creation in Narrative Prose of a Portfolio of Etchings, Engravings, Sketches, and
Silhouettes by Various Artists in Various Styles, Plus a Set of Photographs from a Family Album. Ypsilanti,
MI: Bilingual Press, 1983.

-----. Partners in Crime: A Rafe Buenrostro Mystery. Houston: Arte Publico Press, 1985.

-----. Claros Varones de Belken. Houston: Arte Publico Press, 1986.

-----. This Migrant Earth. Houston: Arte Publico Press, 1987.

Islas, Arturo. The Rain God: A Desert Tale. Palo Alto, CA: Alexandrian Press, 1984.

Lopez, Tomas. Chicano, Go Home: The Life of Alfonso Rodriquez. Hicksville, NY: Exposition Press, 1976. .
The Aguila Family. Sacramento, CA: Mexican-American Publications, 1980.

Matinez, Max. Schoolhand. Houston: Arte Publico Press, 1988.

Martinez, Ricardo. The Healing Ritual. Berkeley, CA: Tonatiuh-Quinto Sol International, 1983.

Medina, Roberto. Two Ranges. Las Cruces, NM: Bilingue Publications, 1974.

-----. Fabian no se muere: Novela de amor. Las Cruces, NM: Bilingue Publications, 1978.

Melendez, Rudolph. Pachuco Mark. New York: Grossmount Publishers, 1976.

Mendez, Miguel. Peregrinos de Aztlan. Tucson, AZ: Editorial Peregrinos, 1974.

21
Morales, Alejandro. Cara viejas y vino nuevo. Mexico: Editorial Jaoquin Mortiz, 1975.

-----. La verdad sin voz. Mexico: Editorial Joaquin Mortiz, 1979.

-----. Old Faces and New Wine. San Diego, CA: Maize Press, 1981.

-----. Reto en el Paraiso. Ypsilanfi, MI: Bilingual Press, 1983.

-----. The Brick People. Houston: Arte Publico Press, 1988.

Niggli, Josephina. Mexican Village. Chapel Hill, NC: University of North Carolina Press, 1945.

-----. Step Down, Elder Brother. New York: Rinehart and Company, 1947.

Ornelas, Berta. Come Down from the Mound. Phoenix, AZ: Miter Publishing Company, 1975.

Ortiz Taylor, Sheila. Faultline. Shelburne Falls, MS: The Naiad Press Inc., 1982.

Pineda, Cecile. Face. New York: Viking Publishing Inc., 1985.

-----. Frieze. New York: Viking Penguin Inc., 1986.

Portillo Trambley, Estela. Trini. Tempe, AZ: Bilingual Press, 1986.

Ranck, Katherine Quintana. Portrait of Dona Elena. Berkeley, CA: Tonatiuh-Quinto Sol International,
1982.

Rechy, John. City of Night. New York: Grove Press, 1963.

-----. Numbers. New York: Grove Press, 1967.

-----. This Day's Death. New York: Grove Press, 1969.

-----. The Vampires. New York: Grove Press, 1971.

-----. The Fourth Angel. New York: Viking Press, 1973.

-----. The Sexual Outlaw. New York: Grove Press, 1977.

-----. Rushes. New York: Grove Press, 1979.

Rico, Armando. Three Coffins for Nino Lencho. Berkeley, CA: Tonatiuh-Quinto Sol International, 1983.

Rios, Isabella. Victuum. Ventura, CA: Diana-Etna Inc., 1976.

Rivera, Tomas. ...y no se lo trago la tierra. Berkeley, CA: Quinto Sol Publications, 1971.

Rodriguez, Dennis. Pachuco. Los Angeles: Holloway Publishing Company, 1980.

Romero, Orlando. Nambe Year One. Berkeley, CA: Tonatiuh International, 1976.

22
Salas, Floyd. Tatto the Wicked Cross. New York: Grove Press, 1967.

-----. What Now My Love?. New York: Grove Press, 1969.

-----. Lay My Body on the Line. Berkeley, CA: Y' Bird Press, 1978.

Tenorio, Arthur. Blessing From Above. Las Vegas, NV: West Las Vegas Schools Press, 1971.

Torres-Metzgar, Joshep V. Below the Summit. Berkeley, CA: Tonatiuh International, 1976.

Valdes, Gina. There Are No Madmen Here. San Diego, CA: Maize Press, 1981.

Vasquez, Richard. Chicano. Garden City, NY: Doubleday, 1970.

-----. The Giant Killer. New York: Manor Books, 1978.

-----. Another Land. New York: Avon, 1982.

Venegas, Daniel. Las aventuras de Don Chipote, o cuando los pericos mamen. Mexico: Secretaria de
Educacion Publica, 1984.

Villanueva, Alma. The Ultraviolet Sky. Tempe, AZ: Bilingual Press/Editorial Bilingue, 1987.

Villareal, Jose Antonio. Pocho. New York: Doubleday & Company, 1959.

-----. The Fifth Horseman. Garden City, NY: Doubleday & Company, 1974.

-----. Clemente Chacon. Binghamton, New York: Bilingual Press/Editorial Bilingue, 1984.

Villasenor, Edmund. Macho!. New York: Bantam Books, 1973.

Short Fiction

Acosta Torres, Jose. Cachito mio. Berkeley, CA: Editorial Justa Publications, 1973.

Alvarado, Arturo Rocha. Cronica de Aztlan: A Migrant's Tale. Berkeley, CA: Qunito Sol Publications, 1977.

Anaya, Rudolfo. The Silence of the Llano: Short Stories. Berkeley, CA: Tonatiuh-Quinto Sol International,
1982.

-----. and Antonio Marquez, eds. Cuentos Chicanos: A Short Story Anthology. New America 5:2 (1984).

Candelaria, Nash. The Day the Cisco Kid Shot John Wayne. Tempe, AZ: Bilingual Press/Editorial Bilingue,
1987.

Chacon, Felipe Maximiliano. Short Stories. Las Vegas, NM: Editorial Telerana, 1980.

Chavez, Angelico. From and Altar Screen: Tales From New Mexico. Freeport, NY: Books for Libraries
Series, 1943.

23
-----. New Mexico Triptych. Santa Fe, NM: Williams Gannon, 1976.

Elizondo, Sergio. Rosa, la flauta. Berkeley, CA: Editorial Justa, 1980.

Espinoza, Herberto. Viendo morir a Teresa y otros relatos. San Diego, CA: Maize Press, 1983.

Keller, Gary. Tales of El Huitlacoche. Colorado Springs, CO: Maize Press, 1984.

Martinez, Max. Monologue of the Bolivian Major: Cuento. San Antonio, TX: M&A Editions, 1978.

-----. The Adventures of the Chicano Kid and Other Stories. Houston, TX: Arte Publico Press, 1988.

Martinez-Serros, Hugo. The last Laugh and Other Stories. Houston, TX: Arte Publico Press, 1982.

Mendez, Miguel. Cuentos para ninos travieso/Stories for Mischievous Children. Berkeley, CA: Editorial
Justa Publications, 1979.

-----. Tata Casehua y otros cuentos. Berkeley, CA: Editorial Justa Publications, 1979.

Moraga, Cherrie. Loving in the War Years: Loving in the War Years: Lo que nunca paso por sus labios.
Boston: South End Press. 1983.

Navarro, J.L. Blue Day on Main Street. Berkeley, CA: Quinto Sol Publications, 1973.

Ortiz y Pino, Jose. Curandero: A Cuento. Santa Fe, NM: Sunstone Press, 1982.

Ponce, Mary Helen. Recuerdo: Short Stories of the Barrio. Tujunga, CA: Adame and Ass., 1983.

-----. Taking Control. Houston, TX: Arte Publico Press, 1987.

Portillo Trambely, Estela. Rain of Scorpions and Other Stories. Berkeley, CA: Tonatiuh International,
1975.

Ramos, Luis Arturo. Siete veces el sueno. San Antonio, TX: M&A Editions, 1976.

Salaz, Ruben Dario. Heartland: Stories of the Southwest. Santa Fe, New Mexico: Blue Feather Press,
1977.

Sanchez, Saul. Hay plesha lichans tu di flac. Berkeley, CA: Editorial Justa Publications, 1977.

Silva, Beverly. The Cat and Other Stories. Houston, TX: Arte Publico Press, 1986.

Soto, Gary. Living Up The Street. San Francisco, CA: Strawberry Hill Press, 1985.

-----. Small Faces. Houston, TX: Arte Publico Press, 1988.

-----. Lesser Evils: Ten Quartets. Houston, TX: Arte Publico Press, 1988.

Ulibarri, Sabine. Tierra Amarilla. Albuquerque, NM: University of New Mexico Press, 1971.

24
-----. Mi abuela fumaba puros y otros cuentos de Tierra Amarilla. Berkeley, CA: Quinto Sol Productions,
1977.

-----. Primeros encuenteros. Ypsilanti, MI: Bilingual Press, 1982.

-----. El Gobernador Glu Glu y otros cuentos. Tempe, AZ: Bilingual Press, 1988.

-----. El Condor and Other Stories. Houston: Arte Publico Press, 1989.

Ulica, Jorge. Cronicas diabolicas (1916-1926) de "Jorge Ulica"/Julico G Arce. San Diego, CA: Maize Press,
1982.

Viramontes, Helen. The Months and Other Stories. Houston: Arte Publico Press, 1985.

Autobiography

Acosta, Adalberto Joel. Chicanos Can Make It. New York: Vantage Press, 1971.

Baez, Joan. Daybreak. New York: Dial Press, 1968.

de la Fuente, Mario. I Like You, Gringo, But! Phoenix: Phoenix Books 1972.

Galarza, Ernesto. Barrio Boy. Notre Dame: University of Notre Dame Press, 1971.

Garcia Andrew. Tough Trip Through Paradise, 1878-1879. Bennett H. Stein. New York: Ballantine Books,
1967.

Jaramillo, Cleofas M. Romance of a Little Village Girl. San Antonio: The Naylor Company, 1955.

Quinn, Anthony. The Original Sin: A Self-Portrait. New York: Bantam Books, 1974.

Rodriguez, Richard. Hunger of Memory: The Education of Richard Rodriguez, An Autobiography. Boston:
Bantam Books, 1981.

Poetry

Adame, Leonard. Cantos pa'la memoria. San Jose, CA: Mango Publications, 1979.

Aguilar, Ricardo. Caravana enlutada. Mexico: Ediciones Pajaro Cascabel, 1975.

-----. En son de Iluvia. Mexico: Editorial Tras Terra, 1980.

Aguilar-Henson, Marcela. Figura cristalina. San Antonio, TX: M&A Editions, 1983.

Alurista. Floricanto en Aztlan. Los Angeles: Chicano Cultural Centre, University of California, 1971.

-----. Nationchild Plumaroja: Poems 1969-1972. San Diego, CA: Toltecas en Aztlan, Centro Cultural de la
Raza, 1971.

25
-----. Timespace Huracan: Poems 1972-1975. Albuquerque, NM: Pajarito Publications, 1976.

-----. A'nque. San Diego, CA: Maize Publications, 1979.

-----. Spik in Glyph?. Houston: Arte Publico Press, 1981.

-----. Return: Poems Collected and New. Ypsilanti, MI: Bilingual Press, 1982.

Amezquita, Ricardo. Eating Stones. Springfield, IL: Sangamon Poets, 1977.

Anaya, Rudolfo. The Adventures of Juan Chicaspatas. Houston: Arte Publico Press, 1984.

Arellano, Juan. Palabras de la vista. Albuquerque, NM: Academia Publications, 1984.

Arguelles, Ivan. Instamatic Reconditioning. Wesconville, PA: Damascus Road, 1976.

-----. The Invention of Spain: Poems. Brooklyn, NY: X-Press, 1978.

-----. Captive of the Vision of Paradise: Poems. Mill Valley, CA: Hartmus Press, 1982.

-----. The Tattooed Heart of the Drunken Sailor: Poems. Madison, WI: Ghost Pony Press, 1983.

-----. Manicomio: Poems. Eugene, OR: R. Moody, 1984.

Baca, Jimmy Santiago. Immigrants in Our Own Land. Baton Rouge, LA: Louisiana State University Press,
1979.

-----. Swords of Darkness. San Jose, CA: Mango Publications, 1981.

-----. What's Happening. Willimantic, CT: Curbstone Press, 1982.

Baptise, Victor. Unos Pasos. Hollywood, CA: Ediciones de la frontera, 1968.

Barrios, Gregg. Puro rolo. Los Angeles, CA: Quetzalcoatl Publications, 1982.

Bernal, Vicente. Las primicias. Dubuque, IA: Telegraph Herald, 1916.

Blea, Irene. Celebrating Crying and Cursing. Pueblo, CO: Pueblo Poetry Project, 1980.

Bornstein-Somoza, Miriam. Bajo cubierta. Tucson, AZ: Scorpion Press, 1976. (2a ed.)

Brinson-Pineda, Barbara. Nocturno. Oakland, CA: Milagro Books, 1979.

-----. Vocabulary of the Dead. Oakland, CA: Nomad Press, 1984.

Bruce-Novoa, Juan. Inocencia perversa. Phoenix: The Baleen Press, 1977.

Burciaga, Jose. Restless Serpents. Menlo Park, CA: Disenos Literarios, 1976.

-----. Drink Cultura Refrescante. San Jose, CA: Mango Publications, 1978.

26
Burk, Ronnie. En el jardin de los nopales: Poems 1976-1977. San Jose, CA: Mango Publications, 1983.

Calderon, Tomas. Think of This Situation. Santa Barbara, CA: The Alternative Press, 1977.

Campbell, Roberto. Poems from my Notebook. San Antonio, TX: M&A Editions, 1978.

Campbell, Trini. Canto indio mexicano. New York: Abra, 1977.

Cardenas, Reyes. Survivors of the Chicano Titanic. Austin, TX: Place of Herons, 1981.

-----. Chicano Territory: Poems. Austin, TX: Place of Herons, 1984.

Castano, Wilfredo. Cast Small Stones Upon the Tender Earth. San Francisco: Second Coming Press, 1981.

Castellano, Olivia. Blue Mandolin, Yellow Field. Berkeley, CA: Tonatiuh-Quinto Sol International, 1980.

-----. Blue Horse of Madness. Sacramento: Crystal Clear, 1983.

Castillo, Ana. Otro canto. Chicago: Alternativa Publications, 1975.

-----. Women Are Not Roses. Houston, Arte Publico Press, 1984.

Catacalos, Rosemary. Again for the First Time. Santa Fe: Tooth of Time, 1984.

Cervantes, Irma. Sparks, Flames and Cinders. Scottdale, AZ: Five Windmills Publishing Company, 1982.

Cervantes, Lorna. Emplumada. Pittsburgh: University of Pittsburgh Press, 1981.

Chacon, Felipe. Obras de Felipe Maximiliano Chacon, "el Cantor neomexicano": Poesia y prosa.
Albuquerque, NM: Felipe M. Chacon, 1924.

Chavez, Fray Angelico. Clothed with Sun. Santa Fe: Writer's Edition, 1939.

-----. Eleven Lady Lyrics and Other Poems. Patterson, NJ: St. Anthony Guild Press, 1945.

-----. The Single Rose: Poems of Divine Love. Santa Fe: Santos Bookshop, 1948.

-----. The Virgin of Port Lligat. Fresno, CA: Academy Library Guild, 1959.

-----. Selected Poems. Santa Fe: Press of the Territorians, 1969.

Chavez, Mario. When it Rains in Cloves. San Jose, CA: Mango Publications, 1980.

Cisneros, Sandra. Bad Boys. San Jose, CA: Mango Publications, 1980.

-----. My Wicked Wicked Ways. Houston, TX: Arte Publico Press, 1987.

Corpi, Lucha. Palabras de mediodia/Noon Words. Berkeley, CA: El fuego de Aztlan Publications, 1980.

Cota Cardenas, Margarita. Noches despertando inconciencias. Tucscon, AZ: Scorpion Press, 1977.

27
Cuellar Jiminez, Ben. Gallant Outcast. San Antonio, TX: The Taylor Company, 1963.

De France, Gary. Seascapes. San Jose, CA: Mango Publications, 1979.

De Hoyos, Angela. Chicano Poems for the Barrio. Bloomington, IN: Blackstage Books, 1975.

-----. Arise, Chicano! and Other Poems. San Antonio, TX: M&A Editions, 1976.

-----. Selecciones. Vera Cruz, Mexico: Universidad Veracruzana, 1976.

-----. Selected Poems. San Antonio, TX: Dezcalzo Press, 1979.

-----. Woman, Woman. Houston, TX: Arte Publico Press, 1985.

De La Junta, Paco. 1983 Chicano Engagement Calendar: A Year of Poetry de Paco de la Junta. Denver,
CO: Bread and Butter Press, 1982.

Delgado, Abelardo. Chicano: 25 Pieces of a Chicano Mind. Denver, CO: Barrio Publications, 1969.

-----. Bajo el so de Aztlan: 25 soles de Abelardo. El Paso, TX: Barrio Publications, 1973.

-----. It's Cold: 52 Cold Thought-Poems of Abelardo. Salt Lake City, UT: Barrio Publications, 1974.

-----. Reflexiones: 16 Reflections of Abelardo. Salt Lake City, UT: Barrio Publications, 1976.

-----. Here Lies Lalo: 25 Deaths of Abelardo. Salt Lake City, UT: Barrio Publications, 1977.

-----. Under the Skirts of Lady Justice: 43 Skirts of Abelardo. Denver, CO: Barrio Publications, 1978.

-----. Siete de Abelardo. Arvada, CO: Barrio Publications, 1979.

-----. Apathy Avenue. Wheat Ridge, CO: Barrio Publications, 1980.

-----. Unos perros con metralla: 25 Perros of Abelardo. Arvada, CO: Barrio Publications, 1982.

Delgado, Holly. The Junk City Journal. Albuquerque, NM: Holly Delgao, Inc., 1977.

Dinkel, Reynalda. Con grato y dulce acento: A Book of Christmas in Poetry. Santa Fe: Sleeping Fox, 1974.

Elizondo, Sergio. Perros y anti-perros: Una epica chicana. Berkeley, CA: Quinto Sol Publications, 1972.

-----. Libro para batos y chavalas chicanas. Berkeley, CA: Editorial Justa Publications, 1977.

Estupinian, Rafael. A Toston: Reminiscences of a Mexican-American. San Diego, CA: San Diego State
University Press, 1973.

Flores, Gloria. And Her Children Lived. San Diego, CA: Toltecas en Aztlan Publications, Centro Cultural de
La Raza, 1974.

Flores Peregrino, Jose. Mesqui + ierra. Albuquerque, NM: Pajarito Publications, 1977.

28
Gaitan, Marcela. Chicano Themes: Manita Poetry. Minneapolis, MN: Chicano Studies Department,
University of Minnesota, 1975.

Galarza, Ernesto. Kodachrome in Rhyme. South Bend IN: University of Notre Dame, 1982.

Galvan, Roberto. Poemas en espanol. San Antonio, TX: Mexican American Cultural Center Press, 1977.

Galvez, Javier. Encanto chicano. Claremount, CA: Javier Galvez, 1971.

Gamboa, Manuel. Divergencias. Boulder, CO: Backstage Books, 1976.

-----. Born into Felony. Syracuse, NY: Pulp Art Forms Unltd., 1977.

Gamboa, Reymundo. Madrugada del 56: Selected Poems. La Jolla, CA: Lalo Publications, 1978.

-----, and Ernesto Padilla. The Baby Chook and Other Remnants: Selected Poems. Tempe, AZ: Other
Voices Publishing House, 1976.

Garcia, Arnoldo. Un macehual en Madrid. Seattle, WA: Editorial Ce Atl, 1981.

Garcia, Jose. Castillos en el aire. Trinidad, CO: El Faro, 1925.

-----. Seria rata!. Trinidad, CO: El Faro, 1930.

Garcia, Luis. Mister Menu. San Francisco: Kayak, 1968.

-----. Beans. Berkeley, CA: Oyez, 1976.

Garcia, Richard. Selected Poetry. Berkeley, CA: Quinto Sol Publications, 1973.

Garcia-Camarillo, Cecilio. Calcetines embotellados. Albuquerque, NM: Mano-Izquierda Books, 1982.

-----. Carambola. Albuquerque, NM: Mano-Izquierda Books, 1982.

-----. Doubleface. Albuquerque, NM: Mano-Izquerda Books, 1982.

-----. Ecstasy and Puro Pedo. Albuquerque, NM: Mano-Izquierda Books, 1982.

-----. Hang a Snake. Albuquerque, NM: Mano-Izquierda Books, 1982.

-----. Winter Month. Albuquerque, NM: Mano-Izquierda Books, 1982.

Garza, Cheo. Capirotada. San Antonio, TX: Trucha Publications, 1980.

Garza, Mario. Un paso mas: collected Poems. Lansing, MI: El Renacimiento Publications, 1976.

Gaspar, Tomas. North Side Story. Berkeley, CA: El Fuego de Aztlan, 1978.

Gomez-Quinones, Juan. 5th and Grande Vista: Poems 1960-1973. Staten Island, NY: Editorial Mensage,
1974.

29
Gonzales, Rodolfo "Corky." I am Joaquin/Yo soy Joaquin: An Epic Poem: Delano, CA: Farm Workers Press,
1967.

Gonzalez, Beatriz. The Chosen Few. San Antonio, TX: M&A Editions, 1984.

Gonzalez, David J. A Journey to the Third World. Venice, CA: Indigena Publications, 1979.

Gonzalez, Rafael Jesus. El hacedor de huegos/The Maker of Games. San Francisco: Casa Editorial, 1977.

Gonzalez, Ray. From the Restless Roots. Houston, TX: Arte Publico Press, 1986.

Hernandez, Leo and Marty Hernandez. Padre y hijo/Father and Son: Chicano Thoughts. Los cerillos, NM:
San Marcos Press, 1974.

Hernandez Tovar, Ines. Con razon, Corazon. San Antonio, TX: Caracol, 1977.

Herrera, Juan Felipe. Rebozos of Love/We Have Women/Sudorde Pueblos/On Our Backs. San Diego, CA:
Toltecas en Aztlan Publications, 1974.

-----. Exiles of Desire. Fresno, CA: Lalo Press Publications, 1983.

Hinjosa, Rolando. Korean Love Songs. Berkeley, CA: Editoria Justa Publications, 1978.

Hruska y Cortes, Elias. This Side and Other Things. San Francisco: Ediciones Pocho-Che, 1971.

Ibanez, Armando. Midday Shadows. New York: Vantage Press, 1980.

Maldonado, Jesus Maria. Sal, pimienta y amor. Seattle, WA: Endless Despair Press, 1976.

Mares, E.A. The Unicorn Poem. Los Cerillos, NM: San Marcos Press, 1980.

Martinez, Lorri. Where Eagles Fall. Brunswick, ME: Blackberry, 1982.

Martinez, Maria. Sterling Silver Roses. San Luis Obispo, CA: La Morenita Publishers, 1981.

Mendez, Miguel. Los criaderso humanos (epica de los desamparados) y Sahuaros. Tucson, AZ: Editorial
Peregrinos, 1975.

Monreal, Art. L.A. and Other Tragedies. Glendale, CA: Great Western, 1981.

Montalvo, Jose. Pensamientos capturados: Poemas de Jose Montalvo. San Antonio, TX: Raza Cosmica,
1983.

-----. !A mi que! San Antonio, TX: Raza Cosmica, 1983.

Montoya, Jose. El sol y los de abajo and Other R.C.A.F. Poems. San Francisco, CA: Ediciones Pocho-Che,
1972.

Mora, Pat. Chants, Houston, TX: Arte Publico Press, 1984.

30
-----. Borders. Houston, TX: Arte Publico Press, 1986.

Mora, Ricardo. The Black Sun. Lubbock, TX: Trucha Publications, 1973.

Moraga, Cherrie. Giving Up the Ghost. Los Angeles: West End Press, 1986.

Moreno, Dorinda. Le mujer es la tierra, la tierra de vida. San Francisco, CA: Casa Editorial, 1975.

Morton, Carlos. White Heroine Winter. El Paso, TX: One Eye Press, 1971.

Munoz, Art. In Loneliness. San Antonio, TX: The Naylor Company, 1975.

-----. A Cop's Journal and Other Poems. San Antonio, TX: Corona Publishing Company, 1984.

Murguia, Alejandro. Oracion a la mano poderosa. San Francisco: Ediciones Pocho-Che, 1972,

-----. Farewell to the Coast. San Francisco: Heir Press, 1980.

Ochoa, Jesus B. A Soft Tongue Shall Break Hardness. El Paso, TX: American Printing Company, 1973.

Ortega, Adolfo. A Turn of the Hands. San Jose, CA: Mango Publications, 1981.

Perez, Reymundo. Free, Free at Last. Denver, CO: Barrio Publications, 1970.

-----. The Secret Meaning of Death. Lubbock, TX: Trucha Publications, 1971.

Pino, Frank. Paseos y peregrinaciones: Poemas. San Antonio, TX: Munguia Printer, 1978.

Ponce-Montoya, Juanita. Grief Work. Hicksville, NY: Exposition Press, 1978.

Quintana, Leroy V. Hijo del Pueblo: New Mexico Poems. Las Cruces, NM: Puerto del Sol Press, 1976.

-----. Sangre. Las Cruces, NM: Prima Agua Press, 1981.

Ramirez, Orlando. Speedway. San Jose, CA: Mango Publications, 1979.

Rangel, Ruben. Bajo la sombra de la maquinaria: Poemas. Seattle, WA: Editorial Ce Atl., 1980.

Rios, Alberto. Elk Heads on the Wall. San Jose, CA: Mango Publications, 1979.

-----. Whispering to Fool the Wind. New York: Sheep Meadow Press, 1982.

Rivera, Marina. Sobra. San Francisco, CA: Casa Editorial, 1977.

Rivera, Tomas. Always and Other Poems. Sisterdale, TX: Sisterdale Press, 1973.

Rocha, Rina G. Eluder. Chicago, MI: Alexander Books, Ltd., 1980.

Romero, Leo. During the Growing Season. Tucscon, AZ: Maguey Press, 1978.

31
-----. Agua Negra. Boise, ID: Ahsahta Press, 1981.

-----. Celso. Houston, TX: Arte Publico Press, 1985.

Royball, Rose Marie. From La Llorona to Envidia...A Few Reflections. Denver, CO: Southwest
Clearinghouse for Minority Publications, 1973.

Salaz, Fernando. Un dia y una vida. Boulder, CO: Pruett Publishing Company, 1977.

-----. Cornerstone in Rhythm. Belen, NM: Alpha Printing Ltd., 1981.

Salinas, Luis Omar. Crazy Gypsy. Fresno, CA: Origines Publications, 1970.

-----. I Go Dreaming Serenades. San Jose, CA: Mango Publications, 1979.

-----. Afternoon of the Unreal. Fresno, CA: Abrams Publishing, 1980.

-----. Prelude to Darkness. San Jose, CA: Mango Publications, 1981.

-----. Darkness Under the Trees/Walking Behind the Spanish. Berkeley, CA: Chicano Studies Library,
University of California, 1982.

-----. The Sadness of Days. Selected Poems and New Poems. Houston, TX: Arte Publico Press, 1987.

Salinas, Raul R. Viaje/Trip. Providence, RI: Hellcoal Press, 1973.

-----. Un Trip Through the Mind Jail y Otras Excursions: Poems. San Francisco: Editorial Pocho-Che, 1980.

Sanchez, Pilar. Symbols. San Francisco: Casa Editorial Publications, 1977.

Sanchez, Ricardo. Canto y grito mi libracion (y lloro mis desmadrazgos). El Paso, TX: Mictla Publications,
1971.

-----. Hechizospells. Los Angeles, CA: Chicano Studies Center Publications, University of California, 1976.

-----. Brown Bear Honey Madness: Alaskan Cruising Poems. Austin, TX: Slough Press, 1982.

-----. Amsterdam cantos y poemas pistos. Austin, TX: Place of Herons, 1983.

-----. Milhuas Blues and Gritos Nortenos. Houston, TX: Arte Publico Press, 1984.

------. Selected Poems. Houston, TX: Arte Publico Press, 1985.

Sanchez, Saul. Desalojos (a la soledad). San Antonio, TX: M&A Editions, 1982.

Sanchez, Trinidad. Poems by Trinidad Sanchez. Lansing, Ml: Renaissance Publications, 1984.

Sierra, Michael. In Their Father's Time. San Jose, CA: Mango Publications, 1984.

Silva, Beverly. The Second Street Poems. Ypsilanti, MI: Bilingual Press/Editorial Bilingue, 1983.

32
Soto, Gary. The Elements of San Joaquin. Pittsburgh: University of Pittsburgh Press, 1971.

------. The Tale of Sunlight. Pittsburgh: University of Pittsburgh Press, 1978.

------. Father is a Pillow Tied to a Broom. Pittsburgh: Slow Loris Press, 1980.

------. Como arbustos de niebla. San Jose, CA: Mango Publications, 1980.

------. Where Sparrows Work Hard. Pittsburgh: University of Pittsburgh Press, 1981.

------. Black Hair. Pittsburgh: University of Pittsburgh Press, 1985.

Tafolla, Carmen. Curandera. San Antonio, TX: M&A Editions, 1983.

Talamantez, Luis. Life Within the Heart Imprisoned. San Jose, CA: Fidelity Printing, 1976.

Tapia, John Reyna. Shadows in Ecstasy and Other Poems. New York: Vintage Press, 1971.

Tejeda, Juan. Enamorado en la guerra y reconocido la sierra: Aztlan '76-77. San Antonio, TX: M&A
Editions, 1983.

Teran, Heriberto. Vida de ilusiones. Corpus Chrish, TX: Tercer Sol Book Store, 1971.

Trejo, Ernesto. The Day of the Venders. Berkeley, CA: Calavera Press, 1977.

------. Instrucctiones y senales. Mexico: La Maquina Electrica, 1977.

------. Los nombres propios. Mexico: Editorial Latitudes, 1978.

Ulibarri, Sabine F. Al cielo se sube a pie. Madrid: Alfagua, 1966.

------. Amor y Ecuador. Madrid: Ediciones J. Porrua Turanzas, 1966.

Valdes, Gina. Puentes y fronteras: Coplas chicanas. Los Angeles: Castle Lithograph, 1982.

Valdez, Luis. Pensamientos Serpentino: A Chicano Approach to the Theatre of Reality. San Juan Bautista,
CA: Cucaracha Publications, 1973.

Vallejo, Armando. Luna llena: Ocho anos de poesia chicana: 1971-1979. Santa Barbara, CA: Ediciones,
Aztlan, 1979.

Vigil, Evangelina. Nade y nade: A Collection of Poems. San Antonio, TX: M&A Editions, 1978.

------. Thirty an' Seen a Lot. Houston, TX: Arte Publico Press, 1982.

------. The Computer is Down. Houston, TX: Arte Publico Press, 1984.

Villanueva, Alma. Bloodroot. Austin, TX: Place of Herons, 1977.

------. Mother, May I? Pittsburgh: Motherroot Publications, 1978.

33
------. Life Span. Austin, TX: Place of Herons, 1984.

Villanueva, Tino. Hay otra Voz: Poems 1968-1971. New York: Editorial Mensaje, 1972.

------. Shaking Off the Dark. Houston, TX: Arte Publico Press, 1984.

Villegas, Robert. Credo for Future Man. Walkerton, IN: Lion Enterprises, 1980.

Zamora, Bernice. Restless Serpents. Menlo Park, CA: Disenos Literarios, 1976.

Drama

Avendano, Fausto. El Corrido de California: A Three Act Play. Berkeley, CA: Editorial Justa Publications,
1979.

Campa, Arthur Leon. Los Comanches: A New Mexican Folk Drama. Alburquerque, NM: University of New
Mexico Press, 1942.

De Leon, Nephatali. 5 Plays. Denver, CO: Totinem Publications, 1972.

Dominguez, Sylvia Maida, La comadre Maria: una comedia. Austin, TX: American Universal Artforms
Corporation, 1973.

Hernandez, Alfonso. The False Advent of Mary's Child and Other Plays. Berkeley, CA: Editorial Justa
Publications, 1979.

Morton, Carlos. The Many Death of Danny Rosales and Other Plays. Houston, TX: Arte Publico Press,
1983.

------, and Alfonso C. Hernandez, and Alurista. Chicano Drama. El Grito Books Series No. 4, Year VII.
Berkeley, CA: Quinto Sol Publications.

Portillo Trambley, Estela. Sor Juana and Other Plays. Ypsilanti, MI: Bilingual Pree/Editorial Bilingue, 1983.

Rutus. The Last Taco in Perez: A Comic Tragedy. Los Angeles, CA: Pachuco Publishing Company, 1975.

Teatro de la Esperanza. El Teatro de la esperanza: An Anthology of Chicano Drama. Ed. Jorge A. Huerta.
Goleta, CA: Teatro de la Esperanza, 1973.

------. Guadalupe: An Original Script. Goleta, CA: El Teatro de la Esperanza, 1975.

Teatro del Piojo. Tortilla Curtain: A Collective Play. Seattle, WA: Editorial Ce Atl, 1980.

Teatro Libertad. Teatro Libertad presenta "Los peludos": An Original Bilingual Play. Tucson, AZ: Teatro
Libertad, 1978.

Valdez, Luis and El Teatro Campesino. Actos. Fresno, CA: Cucaracha Press, 1971.

Villegas, Robert. The Resurrection: A Short Play. Indianapolis, IN: Lion Enterprises, 1978.

34
Anthologies

Alarcon, Justo S., Juan Perez Aldape, and Lupe Cardenas, eds. Canto al pueblo: Antologia. Tucson, AZ:
Post Litho Press, 1980.

Anaya, Rudolfo A., ed. Voces: An Anthology of Nuevo Mexicano Writers. Albuquerque, NM: El Norte
Publications, 1987.

------, and Antonio Marquez, eds. Cuentos Chicanos: A Short Story Anthology. New America 5:2 (1984).

Albi, F.E., and Jesus G. Nieto, eds. Sighs and Songs of Aztlan: New Anthology of Chicano Literature.
Bakersfield, CA: Universal Press, 1975.

Alurista, F.A. Cervantes, Juan Gomez-Quinones, Mary Ann Pacheco, and Gustavo Segade, eds. Festival de
flor y canto: An Anthology of Chicano Literature. Los Angeles, CA: University of Southern California
Press, 1976.

Armas, Jose, ed. Mestizo: Anthology of Chicano Literature. De Colores 4:1&2. Albuquerque, NM: Pajarito
Publications, 1978.

Binder, Wolfgang. Contemporary Chicano Poetry: An Anthology. Number& West Germany: Verlag Palm
and Enke Erlander, 1986.

Cardenas de Dwyer, Carlota, ed. Chicano Voices. Boston, MA: Houghton Mifflin Co., 1975.

Carillo, Leonardo, Antonio Martinez, Carol Molina, and Marie Woods, eds. Canto al Pueblo: An
Anthology of Experience. San Antonio, TX: Penca Books, 1978.

Castaneda-Shular, Antonia, Tomas Ybarra-Frausto, and Joseph Sommers. Literature Chicana: Tato y
contexto/Chicano Literature: Text and Context. Englewood Cliffs, NJ: Prentice-HaH, 1972.

Fisher, Dexter. The Third Woman: Minority Women Writers of the United States. Boston, MA: Houghton
Mifflin Co., 1980.

Garza, Roberto J., ed. Contemporary Chicano Theatre: An Anthology . Notre Dame, IN: University of
Notre Dame Press, 1976.

Hart, Dorothy E., and Lewis M. Baldwin, eds. Voices of Aztlan: Chicano Literature of Today. New York:
New American Library, 1974.

Haslam, Gerald W., ed. Forgotten Pages of American Literature. Boston, MA: Houghton Mifflin Co., 1970.

Hintz, Joy, ed. Mexican American Anthology II. Lansing, MI: El Renacimiento, 1976.

Kanellos, Nicolas, ed. A Decade of Chicano Literature: An Anniversary Anthology. Houston, TX: Arte
Publico Press, 1982.

35
------, and Luis Davila, eds. La Mujer: A Special Issue. Revista Chicano-Riquena 6:2 (1979). Houston, TX:
University of Houston, 1979.

Keller, Gary D., and Francisco Jimenez, eds. Hispanics in the United States: An Anthology of Creative
Literature. (2 vols.) Ypsilanti, MI: Bilingual Review Press, 1980, 1982.

Ludwig, Ed, and James Santibanez, eds. The Chicanos: Mexican American Voices. Baltimore: Penguin
Books, 1971.

Ortego, Philip D., ed. We Are Chicanos: An Anthology of Mexican American Literature. New York:
Washington Square Press, 1973.

Paredes, Americo and Raymund Paredes, eds. Mexican-American Authors. Boston, MA: Houghton
Mifflin Co., 1972.

Rebolledo, Tey Diana, Erlinda Gonzales-Berry, and Teresa Marquez. Las Mujeres Hablan: An Anthology
of Nuevo Mexicana Writers. Albuquerque, NM: El Norte Publications, 1988.

Rios-C, Herminio, and Ocatavio I. Romano-V, eds. Chicanas en al literatura y el arte. El Grito Book Series
No. 1 Year VII. Berkeley, CA: Qunito Sol Publications, 1973.

Romano-V, Octavio Ignacio, and Herminio Rios-C. El Espejo/The Mirror. Berkeley, CA: Quinto Sol
Publications, 1973.

Salinas, Luis Omar, and Lillian Faderman, eds. From the Barrio: A Chicano Anthology. San Francisco, CA:
Canfield Press, 1973.

Simmens, Edward, ed. The Chicano: From Caricature to Self-Portrait. New York: New American Library,
1971.

Tatum, Charles, ed. Latin Amerian Literary Review: Special Issue of Chicano Literature 5:10 (Summer
1977). Pittsburgh: Carnegie-Mellon University, 1977.

Valdez, Luis and Stan Steiner, eds. Aztlan: An Anthology of Mexican-American Literature. New York:
Random House, 1972.

Vigil, Evangelina, ed. Woman of Her Word: Hispanic Women Write. Houston, TX: Arte Publico Press,
1983.

Early Writings

Bolton, Herbert ed. and trans. Anza's California Expeditions Opening a Land Route to California. Diaries
of Anza, Diaz Garces and Palou. Berkelely, CA: University of California Press, 1980.

------. Historical Memoirs of New California by Fray Francisco Palou. (2 Vols.) Berkeley, CA: University of
California Press, 1926.

36
------. Spanish Exploration in the Southwest: 1542-1706. (Original Narratives). New York: Barnes & Noble,
1969.

Brandes, Ray, trans. The Constanso Narrative of the Portola Expedition: First Chronicle of the Spanish
Conquest of Alta California. New Hall, CA: Hogarth Press, 1970.

Cortes, Hernan. Hernan Cortes: Letters from Mexico. Trans. and ed. by Anthony R. Pagden. l New York:
Grossman Publishers, Orion Press, 1971, reprinted with revisions, New Haven: Yale University Press,
1986. l

Espejo, Antonio de. El viaje que hizo Antonio de Espejo en el ano chenta y tres; el cual con sus
companeros descubrieron una sierra. . . a quien pusieron por nombre Nuevo Mexico, por parecerse . en
muchas cosas al viejo. Madrid, Spain, 1586.

Hackett, Charles, ed. Historical Documents Relating to New Mexico, Nueva Vizcaya, and Approaches
Thereto, to 1773. (3 vole.) Washington, DC: Carnegie Institution of Washington, 1923-1937.

Hammond, George and Agapito Rey, eds. Narratives of the Coronado Expedition, 1542-1542.
Alburquerque, NM: University of New Mexico Press, 1940.

Hodge, Frederick, ed. Spanish Explorers in the Southern United States: The Narrative of Alva Nunez
Cabeza de Vaca. New York: Barnes and Noble, 1953.

------. and Agapiot Rey eds. Fray Alonso de Benavides Revised Memorial of 1634. Albuquerque, NM:
University of New Mexico Press, 1945.

Nunez Cabeza de Vaca, Alvar. Adventures in the Unknown Interior of America. Trans. by Cyclone Covey.
New York: Crowell-Collier Publishing Co., 1961.

Obregon, Baltasar de. Obregon's History of Sixteenth Century Explorations in Western America. Ed. and
trans. by George Hammond and Agapito Rey. Los Angeles, CA: Wetzel Publishing Co., 1923.

Pacheco, Joaquin, Francisco de Cardenas and Luis Torres de Mendoza, eds. Coleccion de documentos
ineditos relativos al descubrimiento, conquista y organizacion de las antiguas posesiones espanolas de
America y Oceania sacados de los athivos el reino y nay especialments dle de Indias. (42 vole.) Vaduz,
Liechtenstein: Kraus Reprint, 1964 66.

Perez de Villagra, Gaspar. A History of New Mexico. Trans. by Gilberto Espinosa. Los Angeles, CA: Quivira
Society, 1933.

Pino, Pedro Bautista, Antonio Barreiro, and Jose Agustin de Escudero, Three New Mexico Chronicles: The
"Exposicion" of Don Pedro Bautista Pino, 1812; the "Ojeada" of Lic. Antonio Barreiro, 1832; and the
Additions by Don Jose Agustin de Escudero, 1849. Trans. by H. Bailey Carroll and J. Villasana Haggard.
Alburquerque: Quivira Society, 1942.

37
Serra, Fray Junipero. Writings of Junipero Serra. (4 vole.) Ed. and trans. by Antoine Tibesar. Washington,
DC: Academy of American Franciscan History, 1955.

Smith, Donald E. and Frederick J. Teggart, eds. Diary of Gaspar de Portola During the California
Expedition of 1769#1770. Publications of the Academy of Coast History 1:3 (1909).

SECONDARY SOURCES

Criticism

Aguilar-Henson, Marcella. The Multi-Faceted Poetic World of Angela de Hoyos. Austin, TX: University of
Texas Press, 1982.

Baker, Houston A., Jr., eed. Three American Literatures: Essays in Chicano, Native American, and Asian
American Literature for Teachers of American Literature. New York: Modern Language Association of
America, 1982.

Bardeleben, Renate von, Dietrich Briesemeister und Juan Bruce-Novoa, es. Missions in Conflict: Essays
on U.S.-Mexican Relations and Chicano Culture. Tubingen, West Germany: Gunter Narr Verlag, 1986.

Binder, Wolfgang. Partial Autobiographies: Interviews with 20 Chicamo Poets. Wurnberg, West
Germany: Verlag Palm und Enke Erlander, 1986.

Bruce-Novoa, Juan. Chicano Authors: Inquiry by Interview. Austin: University of Texas Press, 1980.

------. Chicano Poetry: A Response to Chaos. Austin: University of Texas Press, 1982.

Campa, Arthur Leon, ed. Spanish Religious Folktheatre in the Spanish Southwest (I). The University of
New Mexico Bulletin Language Series 5:1. Alburquerque, NM: University of New Mexico Press, 1934.

Campa, Arthur Leon, ed. Spanish Religious Folktheatre in the Spanish Southwest (II). The University of
New Mexico Bulletin Language Series 5:2. Alburquerque, NM: University of New Mexico Press, 1934.

------, ed. Spanish Religious Folktheatre in the Spanish-Southwest (O. The University of New Mexico
Bulletin Language Series, 5:2. Alburquerque, NM: University of New Mexico Press, 1934

Candelaria, Cordelia. Chicano Poetry: A Critical Introduction. Westport, CT: Greenwood Press, 1986.

Fabre, Genvieve ed. European Perspectives on Hispanic Literature of the United States. Houston, IX: Arte
Publico Press, 1988.

Fisher, Dexter, ed. Minority Language and Literature: Retrospective and Prospective. New York: Modern
Language Association, 1977.

Graham, Don, James W. Lee and William T. Pilkington. The Texas Literary Tradition: Fiction, Folklore,
History. Austin, TX: College of Liberal Arts, University of Texas at Austin, 1983.

38
Herrera-Sobek, Maria. Beyond Stereotypes: The Critical Analysis of Chicana Literature. Binghamton, NY:
Bilingual Review Press, 1985.

------, and Helen Maria Viramontes eds. Chicana Creativity and Criticism: Chartering New Frontiers in
American Literature. Houston, TX: Arte Publico Press, 1988.

Horno-Delgado, Asuncion, Eliana Ortega, Nina M. Scott, and Nancy Saporta Sternbach, eds. Breaking
Boudaries: Latina Writing and Critical Readings. Amherst, MA: University of Massachusetts Press, 1989.

Huerta, Jorge A. Chicano Theater: Themes and Forms. Ypsilanit, MI: Bilingual Press/Editorial Bilingue,
1982.

Jiminez, Francisco, ed. The Identification and Analysis of Chicano Literature. New York: Bilingual
Press/Editorial Bilingue, 1979.

Kanellos, Nicolas. Two Centuries of Hispanic Theatre in the Southwest. Houston, TX: Revista Chicano-
Riquena, 1982.

------. Mexican American Theatre: Then and Now. Houston, TX: Arte Publico Press, 1984.

------, ed. Hispanic Theatre in the United States. Houston, TX: Arte Publico Press, 1984.

------. Mexican American Theater: Legacy and Reality. Houston, TX: Latin American Literary Review Press,
1987.

Landy, Lino. Las posibilidades de una literatura Chicana. El Paso: The University of Texas at El Paso, 1973.

Lattin, Vernon E., ed. Contemporary Chicano Fiction: A Critical Survey. Binghamton, NY: Biligual Review
Press, 1985.

Leal, Luis. Aztlan y Mexico: Perfiles literarios a historicos. Binghamton, NY: Bilingual Review Press, 1984.

------, et al. eds. A Decade of Chicano Literature (1970-1979): Critical Essays and Bibliography. Santa
Barbara: Editorial La Causa, 1982.

Lewis, Marvin A. Introduction to the Chicano Novel. Houston: Arte Publico Press, 1984.

Lomeli, Francisco and Donaldo W. Urioste, eds. Chicano Literature and Criticism. Alburquerque, NM:
Pajarito Publications, 1977.

Lomeli, Francisco A. and Carl R. Shirley, eds. Dictionary of Literary Biography Vol. 82: Chicano Writers,
First Series. Columbia, SC: Bruccoli Clark Layman, Inc., 1989.

Lyon, Ted. The Originality of Chicano Literature: A Comparison with Contemporary Mexican Writing.
Lubbock, TX: Rocky Mountain Council for Latin American Studies, 1974.

Maldonado, Jesus. Poesia Chicana: Alurista, el mero chingon. Seattle: Centro de Estudios Chicanos,
University of Washington, 1971.

39
Martinez, Julio A. and Francisco A. Lomeli, eds. Chicano Literature: A Reference Guide. Westport, CT:
Greenwood Press, 1984.

Morton, Carlos. Critical Responses to "Zoos Suit" and "Corridos". El Paso, TX: University of Texas at El
Paso, 1984.

Olivares, Julian. International Studies in Honor of Tomas Rivera. Houston, TX: Arte Publico Press, 1986.

Ortego, Philip D. and David Conde, eds. The Chicano Literacy World 1974: Proceedings of the National
Symposium on Chicano Literature and Critical Analysis, November 1974. Las Vegas, NM: New Mexico
Highlands University, 1974.

------. ed. Focus: Chicano Literature. Houston: Texas Joint Council of Teachers of English, 1976.

------, Tomas Rivera and Jose R. Reyna. New Voices in Literature. The Mexican American. Edinburg, TX:
Pan American University, 1971.

Padilla, Genaro M. "The Recovery of Chicano Nineteenth Century Autobiography," American Quarterly
40, 3, September 1988, 286-306.

Pettit, Arthur G. Images of the Mexican American Fiction and Film. College Station, TX: Texas A&M
University Press, 1980.

Ramos, Luis Arturo. Angela de Hoyos: A Critical Look. Alburquerque: Pajarito Publications, 1979.

Rivera, Tomas. Literatura Chicana: Vida en busca de forma. Arlington, VA: ERIC Document Reproduction
Service, 1980.

Robinson, Cecil. With the Ears of Strangers: The Mexican American in American Literature. Tucson: The
University of Arizona Press, 1963.

------. Mexico and the Hispanic Southwest in American Literature. Tucson: University of Arizona Press,
1977.

Rodriguez del Pino, Salvador. La novela chicana escrita en espanol: Cinco autores comprometidos.
Ypsilanti, Ml: Bilingual Press, 1982.

Romo, Ricardo and Raymund Paredes, eds. New Directions in Chicano Scholarship. La Jolla, CA: Chicano
Studies Program, University of California, San Diego, 1978.

Salvidar, Jose David. The Rolando Hinojosa Reader: Essays Historical and Critical. Houston: Arte Publico
Press, 1984.

Sanchez, Marta. Contemporary Chicana Poetry: An Approach to An Emerging Literature. Berkeley:

University of California, 1985.

Seller, Maxime Schwart, ed. Ethnic Theatre in the United States. Westport, CT: Greenwood Press, 1983.

40
Shirley, Carl R. and Paula W. Understanding Chicano Literature. Columbia, SC: University of South
Carolina Press, 1988.

Simmen, Edward. Pain and Promise: The Chicano Today. New York: New American Library 1972.

Sommers, Joseph and Tomas Ybarra-Frausto, eds. Modern Chicano Writers: A Collection?of Critical
Essays. Englewood Cliffs, NJ: Prentice Hall, 1979.

Tatum, Charles. Chicano Literature. Boston: Twayne Publishers, 1982.

Vassallo, Paul, ed. Magic of Words: Rudolfo A. Anaya and His Writings. Alburquerque, NM: University of
New Mexico Press, 1982.

Vazquez-Castro, Javier. Acerca de Literatura. San Antonio: M&A Editions, 1979.

Xavier, Roy Eric. Politics and Chicano Culture: A Perspective on El Teatro Campesino. Berkeley, CA:
Chicano Studies Library Publications, University of California, 1983.

Background Works

Acuna, Rodolfo. Occupied America: A History of Chicanos. New York: Harper and Row, 1981.

Alford, Harold J. The Proud Peoples: The Heritage and Culture of Spanish-Spealang Peoples in the United
States. New York: McKay, 1972.

Amastae, Jon, and Lucia Elias-Oliveras, eds. Spanish In the United States: Sociolinguistic Aspects.
Cambridge: Cambridge University Press, 1982.

Bardeleben, Renate von, Dietrich Briesemeister und Juan Bruce-Novoa, eds. Missions in Conflict: Essays
on U.S.-Mexican Relations and Chicano Culture. Tubingen, West Germany: Gunter Narr Verlag, 1986.

Chavez, Fray Angelico. My Penitente Land: Reflections on Spanish New Mexico. Alburquerque, NM:
University of New Mexico Press, 1984.

Chavez, John R. The Lost Land: The Chicano Image of the Southwest. Albuquerque, NM: University of
New Mexico Press, 1984.

Del Castillo, Adelaida and Magdalena Mora eds. Mexican Women in the united States: Struggles Past
and Present. Los Angeles: Chicano Studies Research Center Publications, 1980.

Duran, Livie Isauro, and H. Russell Bernard, eds. Introduction to Chicano Studies. New York: Macmillan
Publishing Co., Inc., 1982.

Elsasser, Nan, Kyle Mackenzie and Yvonne Tixier. Las Mujeres: Conversations from a Spanish
Community. New York: The McGraw-Hill Book Company, 1980.

41
Garcia, Eugene E., Francisco A. Lomeli and Isidro D. Ortiz, eds. Chicano Studies: A Multidisciplinary
Approach. New York: Macmillan Publishing Company, 1980.

Keefe, Susan E. and Amado M. Padilla. Chicano Ethnicity. Alburquerque, NM: University of New Mexico,
1987.

Lamar, Howard. The Far Southwest, 1846-1912: A Territorial Hisotry. New Haven, CT: Yale University
Press, 1966.

Levy, Jacques E. Cesar Chavez: Autobiography of La Causa. New York: W. W. Norton & Co., 1975.

Limon, Jose Eduardo. Mexican Speech Play. Austin, TX: Institute of Latin American Studies, U. of Texas,
1987.

Lucero-White, Aurora. Literary Folklore of the Hispanic Southwest. San Antonio, TX: Naylor Co, 1953.

Lynn, I. Perrigo. The American Southwest. New York: Holt, Rinehart and Winston, Inc., 1971.

McWilliams, Carey. North From Mexico. New York: Greenwood Press, 1968.

Meier, Matt S., and Felciano rivera. The Chicanos: A History of Mexican Americans. New York: Farrar,
Straus and Giroux, Hill and Wang, 1972.

Mirande, Alfredo, and Evangelina Enriquez. La Chicana: Mexican American Woman. Chicago: University
of Chicago Press, 1979.

Moore, John w., and alfredo Cuellar. La Chicana: The Mexican American Woman. Chicago: University of
Chicago Press, 1979.

Moquin, Wayne and Charles Van Doren, eds. A Documentary History of the Mexican Americans. New
York: Praeger

Otero, Miguel Antonio. My Life on the Frontier, Vol. I: 1864-1882, Incidents and Characters of the Period
When Kansas, Colorado, and New Mexico Were Passing Through the Last of Their Wild and Romantic
Years. New York: Press of the Pioneers, 1935.

-----. My Life on the Frontier. vol. 2: 1882-1897, Death Knell of a Territory and Birth of a State.
Alburquerque, NM: University of New Mexico Press, 1939.

-----. My Nine Years as Governor of the Terriroty of New Mexico, 1897-1906. Alburqueque, NM:
University of New Mexico Press, 1940.

Paredes, Americo. "With His Pistol in His Hand"--A Border Ballad and Its Hero. Austin, TX: University of
Texas press, 1958.

Pitt, Leonard. The Deline of the Californios: A Social History of the Spanish-Speaking Californians, 1846-
1890. Berkeley: University of California Press, 1966.

42
Samora, Julian ed. La Raza: Forgotten Americans. Notre Dame, IN: University of Notre Dame Press, 1966.

Sanchez, George I. Forgotten People: A Study of New Mexicans. Alburquerque, NM: University of New
Mexico Press, 1940.

Steiner, Stan. La Raza: The Mexican Americans. New York: Harper and Row, 1969.

Weber, David J., ed. Foreigners in Their Native Land: Historical Roots of the Mexican Americans,
Albuquerque, NM: University of New Mexico Press, 1973.

Bibliographies

Alarcon, Norma & Sylvia Kossnar. Bibliography of Hispanic Women Writers. Bloomington, IN: Chicano-
Riqueno Studies, 1980.

Anzaldua, Mike. Mexican American Literature: A Preliminary Bibliography of Literary Criticism. Austin,
TX: Institute of Latin American Studies, 1981.

Bleznick, Donald William. A Sourcebook for Hispanic Literature and Language: A Selected, Annotated
Guide to Spanish, Spanish-American and Chicao Bibliography, Literature, Linguistics, Journals, and Other
Source Material. Metuchen, NJ: Scarecrow Press, 1983.

Cabello-Argandona, Roberto, Juan Gomez-Quinones, and Patricia Herrera-Duran. The Chicana: A

Comprehensive Bibliographic Study. Los angeles, CA: University of California, Chicano Studies Center,
1976.

Chapa, Evey et al. La Mujer Chicana: An Annotated Bibliography. Austin, TX: Chicana Research and
Learning Center, 1976.

Cortez, Ruben, and Joseph Navarro. "Mexican-American History: A Critical and Selective Bibliography." El
Grito: A Journal of Contemporary Mexican-American Thought 1:3 (1970).

Dunn, Lynn P. Chicanos: A Study Guide and Sourcebook. San Francisco: R & E Research Associates, 1975.

Dwyer, Carlota Cardenas, Chicano Literature: An Introduction and An Annotated Bibliography. Austin,
TX: Department of English and Center for Mexican American Studies, University of Texas at Austin, 1977.

Eger, Ernestina N. A Bibliography of Criticism of Contemporary Chicano Literature. Berkeley, CA: Chicano
Studies Library Publications, University of California, 1982.

Garcia, Richard A. "Bibliography," The Chicanos in America, 1540-1974; A Chronology and Fact book.
New York: Oceana Publications, 1977.

Gomez-Quinones, Juan, and Albert Camarillo. Selected Bibliography for Chicano Studies. Los Angeles,
CA: Aztlan Publications, 1975.

43
Heisley, Michael. An Annotated Bibliography of Chicano Folklore from the Southwestern United States.
Los Angeles, CA: University of California, 1977.

Hernandez-Chavez, Eduardo, Andrew D. Cohen and Antony F. Beltramo. "Bibliography." El lenguaje de

los Chicanos: Regional and Social Characteristics Used by Mexican Americans. Arlington, VA: Center for
Applied Linguistics, 1975.

Huerta, Jorge A. A Bibliography of Chicano and Mexican Dance, Drama and Music. Oxnard, CA: Colegio
Quetzalcoatl, 1972.

Lomeli, Francisco A. and Donald Urioste. Chicano Perspectives in Literature: A Critical and Annotated
Bibliography. Albuquerque, NM: Pajarito Publications, 1976.

Martinez, Julio A. and Francisco A. Lomeli. Chicano Scholars and Writers: A Bio-Bibliographical Directory.
Metuchen, NJ: Scarecrow Press, 1979.

-----, eds. Chicano Literature: A Reference Guide. Westport, CT: Greenwood Press, 1984.

Miller, Wayne Charles. "Mexican Americans: A Guide to the Mexican-American Experience." A

Comprehensive Bibliography for the Study of American Minorities. New York: New York University Press,
1976.

Morales, Phyllis S. Fray Angelico Chavez: A Bibliography of His Published Writings, 1925-1978. Santa Fe,
NM: Lightning Tree Press, 1980.

Rojas, Guillermo. "Toward a Chicano/Raza Bibliography: Drama, Prose, Poetry." El Grito: Journal of
Contemporary Mexican-American Thought 7:2, 1973.

Scott, Frank. Cesar Cabellero and Ida Gonzalez. Chicano Literature: A Selective Bibliography. El Paso:
University of Texas, El Paso, 1977.

Tatum, Charles M. A Selected and Annotated Bibliography of Chicano Studies. Lincoln: University of
Nebraska-Lincoln, Dept. of Modern Languages and Literatures, 1979.

Teschner, Richard V., Garland D. Bills, and Jerry R. Craddock. Spanish and English of the United States
Hispanos: A Critical, Annotated, Linguistic Bibliography. Arlington, VA: Center for Applied Linguistics,
1975.

Trejo, Arnulfo D. Bibliografia Chicana: A Guide to Information Sources. Detroit: Gale Research, 1975.

Trujillo, Roberto G. and Raquel Quiroz de Gonzalez. "A Comprehensive Bibliography (1970-1979)." A
Decade of Chicano Literature (1970-1979): Critical Essays and Bibliography. Santa Barbara, CA: Editorial
La Causa, 1982.

-----. Literatura Chicana: A Comprehensive Bibliography (1980-1984). Stanford, CA: Stanford Libraries
Chicano Collections, 1984.

44
Trujillo, Roberto G. and Andres Rodriguez. Literature Chicana: Creative and Critical Writings Through
1984. Encino, CA: Floricanto Press, 1985.

Tully, Majorie F. Annotated Bibliography of Spanish Folklore in New Mexico and Southern Colorado. New
York: Arno Press, 1977.

Valk, Barbara G. Borderline: A Bibliography of the United States-Mexico Borderlands. Los Angeles: UCLA
Latin American Center, 1989.

Wagner, Henry R. The Spanish Southwest 1542-1794: An Annotated Bibliography. (2 vols.) New York:
Arno press, 1967.

AUTHORS

BY ANNIE O. EYSTUROY AND JOSE ANTONIO GURPEGUI

Annie Olivia Eysturoy, a native of the Faroe Islands, has taught courses in ethnic American literature in
the American Studies Department at the University of New Mexico. She is co-editor of This is About
Vision (forthcoming), an anthology of interviews with southwestern writers, and she has pub fished
several articles on ethnic American literature. She frequently lectures on Native American and Chicano
literature at conferences in the United States and Europe. She is currently Visiting Professor at the
University of Alcala de Henares, Spain

Jose Antonio Gurpegui is Associate Professor at the University of Alcala de Henares where he teaches
courses in North American literature and Spanish tradition and cultural presence in the United States.
He has lectured on Chicano literature at several Spanish universities. Among his publications are James
Joyce: Life as Novel and The Small Community in North American Literature. He writes a weekly column
on American literature for the ABC newspaper.

45