目次

Volume I
Acknowledgements
Selective Historical Chronology
Bibliography of Latino/a Writing
Introduction

Part 1: US Latino/a Literary Overviews
1. Victor Hernandez Cruz, ‘Mountains in the North: Hispanic Writing in the U.S.A.’, in Red Beans (Minneapolis: Coffee House Press, 1991), pp. 87-91.
2. Rolando Perez , ‘What is “Minor” in Latino Literature?’, MELUS 30, 4, 2005, 89-108.
3. Gustavo Perez-Firmat, ‘Words That Smell Like Home’, in Tongue Ties: Logo-Eroticism in Anglo-Hispanic Literature (New York: Palgrave Macmillan, 2003), pp. 139-157.
4. A. Robert Lee, ‘Outside In: Latino/a Un-bordering in US Fiction’, in Jay Prosser (ed.), American Fiction of the 1990s: Reflections of History and Culture (London and New York: Routledge, 2008), pp. 17-30.
5. Ellen McCracken, ‘Postmodern Ethnicity as Commodity: Containment and Resistance in, New Latina Narrative: The Feminine Space of Postmodern Ethnicity (Tucson: University of Arizona Press, 1999), pp. 11-39.

Part 2: Chicano/a Literary Statements, Overviews, Oral Tradition, Theory
6. Rudolfo A. Anaya, ‘Aztlan: A Homeland without Boundaries’, in Rudolfo A. Anaya and Francisco Lomeli (eds), Aztlan: Essays on the Chicano Homeland (Albuquerque: University of New Mexico Press, 1989), pp. 230-241.
7. Alurista, ‘Cultural Nationalism and Chicano Literature: 1965-75’, in Renate von Bardeleben, Dietrich Briesemeister and Juan Bruce-Novoa (eds), Missions in Conflict: Essays on U.S.-Mexican Relations and Chicano Culture (Tubingen: Gunter Narr Verlag, 1986), pp. 41- 52.
8. Gloria Anzaldua, ‘The Homeland, Aztlan: El Otro Mexico’, in Borderlands, La Frontera: The New Mestiza, 2nd ed, (San Francisco: Aunt Lute Books, 1999), pp. 23-35.
9. Luis Leal, ‘Pre-Chicano Literature: Process and Meaning (1539-1959)’, in Francisco Lomeli (ed), Handbook of Hispanic Cultures in the United States: Literature and Art (Houston: Arte Publico Press, 1993), pp. 62-85.
10. Jose E. Limon, ‘With His Pistol in His Hand: The Essay as Strong Sociological Poem’, in Mexican Ballads, Chicano Poems: History and Influence in Mexican-American Social Poetry (Berkeley: University of California Press, 1992), pp. 61-77.
11. Angie Chabram, ‘Conceptualizing Chicano Critical Discourse’, in Hector Calderon and Jose David Saldivar (eds), Criticism in the Borderlands: Studies in Chicano Literature, Culture, and Ideology (Durham: Duke University Press, 1991), pp. 127-148.
12. Tey Diana Rebolledo, ‘Tradition and Mythology: Signatures of Landscape in Chicana Literature’, in Vera Norwood and Janice Monk (eds), The Desert is No Lady: Southwestern Landscapes in Women’s Writing and Art (Tucson: University of Arizona Press, 1997), pp. 96-124.

VOLUME II
Part 3: Chicano/a Fiction
13. Luther S. Luedtke, ‘Pocho and the American Dream’, in Vernon E. Lattin (ed.), Contemporary Chicano Fiction: A Critical Survey (Binghamton: Bilingual Press/Editorial Bilingingue, 1986), pp.62-81.
14. Julian Olivares, ‘Tomas Rivera: Introduction’, in Julian Olivares (ed.), Tomas Rivera: The Complete Works (Houston: Arte Publico Press, 1992), pp.13-46.
15. Ramon Saldivar, ‘Beyond Good and Evil: Utopian Dialectics in Tomas Rivera and Osca Zeta Acosta’, in Chicano Narrative: The Dialectics of Difference (Madison: University of Wisconsin Press, 1990), pp. 74-102.
16. Paul Beekman Taylor, ‘Chicano Secrecy in the Fiction of Rudolfo A. Anaya’, Journal of the Southwest 39, 2, 1997, 239-265.
17. A. Robert Lee, ‘Chicanismo as Memory: The Fictions of Rudolfo Anaya, Nash Candelaria, Sandra Cisneros and Ron Arias’, in Amritjit Singh, Joseph T. Skerrett, Jr., and Robert E. Hogan (eds), Memory and Cultural Politics: New Approaches to American Ethnic Literatures (Boston: Northeastern Press, 1996), pp. 320-339.
18. Teresa McKenna, ‘Power Reversals and the Comic: Rolando Hinojosa as a Political Writer’, in Migrant Song: Politics and Process in Contemporary Chicano Literature (Austin: University of Texas Press, 1997), pp.73-102.
19. Elizabeth Mermann-Jozwiak, ‘Gritos desde la Frontera: Ana Castillo, Sandra Cisneros, and Postmodernism’, MELUS 25, 2, 2000, 101-118.
20. Stella Bolaki ‘“This Bridge We Call Home”: Crossing and Bridging Spaces in Sandra Cisneros’s The House on Mango Street’, Borders and Boundaries: eSharp, Issue 5, (Summer 2005), 1-14.
21. Roland Walter, ‘The Cultural Politics of Dislocation and Relocation in the Novels of Ana Castillo’, MELUS 23, 1, 1998, 81-97.
22. The Cultural Politics of Dislocation and Rebellion in the Novels of Ana Castillo, MELUS, 23:1 (Spring) 1998, 81-97.
23. B. Marie Christian, ‘Many Ways to Remember: Layered Time in Mora’s House of Houses’, MELUS 30, 1, 2005, 135-148.
24. Maya Socolovsky, ‘Narrative and Traumatic Memory in Denise Chavez’s Face of an Angel’, MELUS 28, 4, 2003, 187-205.
25. Norma Alarcon, ‘Making Familia from Scratch: Split Subjectivities in the Work of Helena Maria Viramontes and Cherrie Moraga’, in Maria Herrera-Sobek and Helena Maria Viramontes (eds), Chicana Creativity & Criticism, 2n ed. (Albuquerque: University of New Mexico Press, 1996), pp. 220-232.
26. Susan Baker Sotelo, ‘Marginalization in Aztlan: Michael Nava’s Gay Detective’, in Chicano Detective Fiction: A Critical Study of Five Novelists (Jefferson: McFarland & Company, Inc., 2005), pp. 123-148.
27. Ralph E. Rodriguez, ‘Lucha Corpi’s Gloria Damasco Series’, in Brown Gumshoes: Detective Fiction and the Search for Chicana/o Identity (Austin: University of Texas Press, 2005), pp. 55-77.

VOLUME III
Part 4: Chicano/a Poetry
28. Rafael Perez-Torres, ‘From the Homeland to the Borderlands, the Reformation of Aztlan: Rodolfo Gonzalez, Jimmy Santiago Baca, Lorna Dee Cervantes, Ana Castillo, Gloria Anzaldua’, in Movements in Chicano Poetry (Cambridge: Cambridge University Press, 1995), pp. 56-96.
29. Marissa Lopez, ‘The Language of Resistance: Alurista’s Global Poetics’, MELUS 33, 1, 2008, 93-115.
30. Yves-Charles Grandjeat, ‘Ricardo Sanchez: The Poetics of Liberation’, in Genevieve Fabre (ed.), European Perspectives on Hispanic Literature in the United States (Houston: Arte Publico Press, 1988), pp. 33-43.
31. Juan Bruce-Novoa, ‘Rescuing the World Cente: Montoya, Navarro, Delgado, Salinas’, in Chicano Poetry: A Response to Chaos (Austin: University of Texas Press, 1982), pp. 14-47.
32. Jose David Saldivar, ‘Changing Borderland Subjectivities: Montoya, Zamora, Rios’, Border Matters: Remapping American Cultural Studies (Berkeley: University of California Press, 1997), pp. 57-71.
33. Ernesto Padilla, ‘With Our Very Own Names, or There is Room Here for Two Tongues Inside This Kiss: The Voice of Carmen Tafolla’, in Ernesto Padilla (ed.), Sonnets to Human Beings and Other Selected Works by Carmen Tafolla (Santa Monica: Lalo Press, 1992), pp. 180-193.
34. Alberto Julian Perez, ‘Tino Villanueva’, in Alan West-Duran (ed.), Latino and Latina Writers (New York: Charles Scribner’s Sons, 2004), pp. 527-536.
35. Charles Tatum, ‘Gary Soto’, in Alan West-Duran (ed.), Latino and Latina Writers (New York: Charles Scribner’s Sons, 2004), pp. 475-490.
36. Lisa Tatonetti, ‘A Kind of Queer Balance’: Cherrie Moraga’s Aztlan, MELUS, 29, 2, 2004, 227-247.
37. Deborah L. Madsen, ‘Lorna Dee Cervantes’, in Contemporary Chicana Literature (Columbia: University of South Carolina Press, 2000), pp. 196-228.
38. Marta Ester Sanchez, ‘The Dramatization of a Shifting Poetic Consciousness: Bernice Zamora’s Restless Serpents’, in Contemporary Chicana Poetry: A Critical Approach to an Emerging Literature (Berkeley: University of California Press, 1985), pp. 214-268.
39. Julian Olivares, ‘Seeing and Becoming: Evangelina Vigil, Thirty a’n Seen a Lot’, in John A. Garcia, Theresa Cordova and Juan R. Garcia (eds), The Chicano Struggle: Analyses of Past and Present Efforts (Binghamton: Bilingual Press/Editorial Bilingue, 1984), pp.152-165.

Part 5: Chicano Drama
40. Arturo Ramirez, ‘Contemporary Chicano Theater’, in David R. Maciel, Isidro D. Ortiz and Maria Herrera-Sobek (eds), Chicano Renaissance: Contemporary Cultural Trends (Tucson: University of Arizona Press, 2000), pp. 233-260.
41. Jorge A. Huerta, ‘Chicano Theater, Themes and Forms, Justice: On the Streets and in the Courts’, in Chicano Theater: Themes and Forms (Ypsilanti: Bilingual Press/Editorial Bilingue, 1982), pp. 155-185.
42. Luis Valdez, ‘El Teatro Campesino ? Its Beginnings’, in Ed Ludwig and James Santibanez (eds), The Chicanos: Mexican American Voices (Baltimore: Penguin Books, 1971), pp.115-119.
43. Guillermo E. Hernandez, ‘Luis Valdez and Actos of Teatro Campesino’, in Chicano Satire: A Study in Literary Culture (Austin: University of Texas Press, 1991), pp. 31-51.
44. Stacy Alaimo, ‘Multiculturalism and Epistemic Rupture: The Vanishing Acts of Guillermo Gomez-Pena and Alfredo Vea Jr.’, MELUS, 25, 2, 2000, pp. 163-185.

Part 6: Chicano/a Autobiographical Studies
45. Michael Hames-Garcia, ‘Dr. Gonzo´s Carnival: The Testimonial Satires of Oscar Zeta Acosta’, American Literature, 72, 3, 2000, pp. 463-493.
46. Henry Staten, ‘Ethnic Authenticity, Class, and Autobiography: The Case of Hunger of Memory’, PMLA 113, 1, 1998, 103-116.
47. Elizabeth Fertz, ‘Richard Rodriguez: Reluctant Romantic’, Early American Literature, 43, 2, 2008, 443-452.

VOLUME IV
Part 7: Puerto Rican/Puerto Riqueno/a Overviews
48. Juan Flores, ‘Puerto Rican Literature in the United States: Stages and Perspectives’, Divided Borders: Essays on Puerto Rican Identity, ADE Bulletin (Association of Departments of English), 91, 1988, 39-44
49. Lisa Sanchez Gonzalez, ‘The Boricua Novel: Civil Rights and the “New School” Nuyorican Narratives’, in Boricua Literature: A Literary History of the Puerto Rican Diaspora (New York: New York University Press, 2001), pp. 102-133.
50. Edna Acosta-Belen, ‘Beyond Island Borders: Ethnicity, Gender, and Cultural Revitalization in Nuyorican Literature’, Callaloo 15, 4, 1992, 979-998.

Part 8: Puerto Rican/Riqueno Literature
51. Marta Caminero-Santangelo, ‘“Puerto Rican Negro”: Defining Race in Piri Thomas’s Down These Mean Streets’, MELUS 29, 2, 2004, 205-226.
52. Barbara Roche Rico, ‘“Rituals of Survival”: A Critical Assessment of the Fiction of Nicholasa Mohr’, Frontiers, 28, 3, 2007, 160-179.
53. Maya Scolovsky, ‘Telling Stories of Transgression: Judith Ortiz Cofer’s The Line of the Sun’, MELUS, 34, 1, 2009, 95-116.
54. Thomas McConnell, ‘Fragmentation and Assimilation in Judith Ortiz Cofer’s Latin Deli and Year of Our Revolution’, Atenea 22, 1-2, 2002, 57-63.
55. Carmen S. Rivera, ‘The Fluid Identity of Rosario Morales and Aurora Levins Morales in Getting Home Alive’, in Kissing the Mango Tree: Puerto Rican Women Rewriting American Literature (Houston: Arte Publico Press, 2002), pp. 56-76.
56. Wolfgang Binder, ‘“A Midnight Reality”: Puerto Rican Poetry in New York, a Poetry of Dreams’, in Genevieve Fabre (ed.), European Perspectives on Hispanic Literature of the United States (Houston: Arte PublicoPress, 1988), pp. 22-32.
57. Michael Dowdy, ‘“A Mountain/in My Pocket”: The Affective Spatial Imagination in Post-1952 Puerto Rican Poetry’, MELUS, 35, 2, 2010, 41-67.
58. Francis R. Aparicio, ‘Salsa, Maracas, and Baile: Latin Popular Music in the Poetry of Victor Hernandez Cruz’, MELUS, 16, 1, 1989-1990, 43-58.
59. Thomas Fink, ‘Visibility and History in the Poetry of Martin Espada’, The Americas Review 25, 1999, 202-221.
60. Stephanie Alvarez Martinez, ‘!?Que.que?! ? Transculturacion and Tato Laviera’s Spanglish Poetics’, Centro Journal, XVIII, 1, 2006, 25-47.
61. Miriam DeCosta-Willis, ‘Sandra Maria Esteves’ Nuyorican Poetics: The Signifying Difference’, Afro-Hispanic Review, 23, 2, 2004, 3-12.
62. J. Chris Westgate, ‘Towards a Rhetoric of Sociospatial Theatre: Jose Rivera’s Marisol’, Theatre Journal, 59, 2007, 21-37.

Part 9: Cuban American Literature
63. Rodolfo J. Cortina, ‘Cuban Literature in the United States: 1824-1959’, in Ramon Gutierrez and Genaro Padilla (eds), Recovering the U.S. Hispanic Literary Heritage (Houston: Arte Publico Press, 1993), pp. 69-88.
64. Isabel Alvarez-Borland, ‘Displacements and Autobiography in Cuban-American Fiction’, World Literature Today, 68, 1, 1994, 43-48.
65. Eliano Rivero, ‘From Immigrants to Ethnics: Cuban Women Writers in the U.S.’, in Asuncion Horno-Delgado, Elena Ortega, Nina M. Scott and Nancy Saporta Sternback (eds), Breaking Boundaries: Latina Writing and Critical Readings (Amherst: University of Massachusetts Press, 1989), pp. 189-200.
66. Juan Bruce-Novoa, ‘Hijuelos’ Mambo Kings: Reading from Divergent Traditions’, Confluencia, 10, 2, 1995, 11-22.
67. Maya Socolovsky, ‘The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos’s The Fourteen Sisters of Emilio Montez O’Brien’, PMLA, 117, 2, 2002, 252-264.
68. Rocio G. Davis, ‘Back to the Future: Mothers, Languages, and Himes in Cristina Garcia´s Dreaming in Cuban’, World Literature Today, 74, 1, 2000, 60-68.
69. Beatriz Rivera Barnes, ‘Stealing the Nation. Three Women Writers in the U.S.: Lourdes Casal, Dolores Prida, and Achy Obejas’, Internet, downloaded January 2013.

VOLUME IV
Part 10: Dominican American Literature
70. Kiley J. Guyton Acosta, ‘Writing Back to the Island: Revisionist Historiographies in Dominican-American Fiction’, Brujula, 8, 2010, 58-82.
71. Fernando Valerio-Holguin, ‘Dominican-American Writers: Hybridity and Ambivalence’, trans. Scott Cooper, Forum on Public Policy On Line: A Journal of the Oxford Round Table, 2006, 1-16.
72. David Cowart, ‘Immigration and Primal Scene: Alvarez’s How the Garcia Girls Lost their Accents’, in Trailing Clouds: Immigrant Fiction in Contemporary America, (Ithaca: Cornell University Press, 2006), pp. 41-54.
73. Steve Criniti, ‘Collecting Butterflies: Julia Alvarez’s Revision of North American Collective Memory’, Modern Language Studies, 36, 2, 2007, 42-63.
74. Anne Garland Mahler, ‘The Writer as Superhero: Fighting the Colonial Curse in Junot Diaz’s The Brief Wondrous Life of Oscar Wao’, Journal of Latin American Cultural Studies, 19, 2, 2010, 119-140.
75. Emilia Maria Duran-Almarza, ‘Ciguapas in New York: Transcultural Ethnicity and Transracialization in Dominican American Performance’, Journal of American Studies, 46, 1, 2012, 139-153.

Part 11: North American Latino/a Writings
76. George Monteiro, ‘Persons, Poems, and Other Things Portuguese in American Literature’, Gavea-Brown, XVII-XVIII, 1996-1997, 3-24.
77. Michael Templeman,‘Becoming Transnational and Becoming Machinery in Francisco Goldman’s The Ordinary Seamen’, Symplok?, 14, 1-2, 2006, 271-288.

Index