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A New Mexican novelist, essayist, poet, and children’s literature author, Rudolfo Anaya (1937-2020) is one of the foundational writers of contemporary Chicano literature. His most notable work is the award-winning coming-of-age novel Bless Me, Ultima (1963), which is set in rural New Mexico and concerns the relationship between the young protagonist, Antonio, and a healer, Ultima. The novel has sold over one million copies while occupying several states’ banned-book lists.
The novel is semiautobiographical in nature, as Anaya grew up in Eastern New Mexico before relocating to Albuquerque as a teenager. The move provided Anaya with greater access to education, and he graduated from the University of New Mexico with a Bachelor’s in English and American Literature before returning for two Master’s, one in English and one in guidance and counseling. He later taught in the English Department for the remainder of his career while publishing over 50 works. For his lifelong dedication to literature, Anaya was awarded the National Humanities Medal in 2015.
For someone whose early career was often considered not political enough, Anaya established himself as one of the most significant writers of the Chicano Movement by weaving Mexican American traditions into his varied works. For Anaya, all literature is political, and it was this attitude that made him no stranger to censorship. His works explore Mexican American belonging in the US Southwest, Indigenous heritage, and preserving regional culture in the face of Americanization. In “Take the Tortillas Out of Your Poetry,” Anaya writes about the need to further develop Chicano perspectives while confronting dominant culture. The essay is only one of the many writings in which Anaya addresses these ideas.
The Indian-born British American novelist Salman Rushdie (1947-) has produced award-winning literature that focuses on migration stemming from British colonialism in India. His novel Satanic Verses (1988) remains highly controversial and has been banned in multiple countries for its portrayal of Islam. Many Muslims consider the work blasphemous. In fact, prior to its publication, Rushdie received threats from Islamic groups, and these threats only intensified after the book’s release. Despite his apology, he has since been the target of multiple assassination attempts, among the most famous happening in August 2022.
Anaya’s essay cites Rushdie as a contemporary who has faced drastic, international censorship. This example allows Anaya to connect to the reader through a known figure. Anaya even opens the essay by paralleling his own struggle with Rushdie’s: Like Rushdie, Anaya was raised in a household that cherished storytelling, though books were not easily accessible. For both writers, the written word is a sort of sacred gift, and reading it is a sacred privilege. Therefore, the notion of burning books or censoring books, as has happened to the two authors’ works, carries a sacrilegious connotation.
Moreover, while Rushdie’s Satanic Verses was well-received in England, many reviewers did not understand its more implicit connections to Islam. This also informs Anaya’s comments on how gatekeepers do not understand the complexities of other cultural groups, such as when Chicano poetry uses both English and Spanish.
Rodolfo “Corky” Gonzales (1928-2005) was a poet and political organizer in the Chicano Movement. He is particularly known for the first Chicano epic poem, “Yo soy Joaquín” (I am Joaquín) (1967), which traces the Chicano struggle back to the arrival of the Spaniards in present-day Mexico. This chronology allows Gonzales to connect Chicano identity with that of notable Indigenous groups, such as the Aztecs, while also acknowledging his Spanish heritage.
Gonzales’s epic poem evokes heroes of the working class and uses violent imagery to encourage widespread social change. Ultimately, the poem is a call to action, reminding Chicanos of their connection to the land that they live and work on, as well as their right to be politically present in the United States, where they have faced decades of discrimination. Since the poem covers many centuries, one of its main themes is the resiliency of the Chicano people who have withstood oppression. The poem was later turned into a film by Luis Valdez, the notable Chicano filmmaker and playwright famous for Zoot Suit (1978).
Anaya recalls “I am Joaquín” because of the poem’s emancipatory effect on Chicanos across the United States. According to Anaya, the poem urged many to connect with their identity and participate in social activism. The author uses the poem as evidence that literature can be a source of liberation.
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