8888Editors: Juan Rodriguez and Petra Rodriguez
8888Cover by Rudy "Diamond Garcia
8888Relampago Press- 1985-82pp
8888ISBN: 0-9614964-1-x
8888 Luis Arturo Ramos
8888Cover by Linda Morales Armas
8888Pajarito Publications-1979-50 pp
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| 8888The Multi-facted Poetic World 8888Editors: Juan Rodriguez and Petra Rodriguez 8888Cover by Rudy "Diamond Garcia 8888Relampago Press- 1985-82pp 8888ISBN: 0-9614964-1-x |
888Angela de Hoyos- A Critical Look 8888 Luis Arturo Ramos 8888Cover by Linda Morales Armas 8888Pajarito Publications-1979-50 pp |
| TOC | (4 0F 15) ARISE CHICANO and other poems and ACERCA DE LITERATURA |
| 8888FOREWORD 8888The Multi-facted Poetic World of Angela de Hoyos Critical inquiry into the work of Chicana writers is rapidly escalating. Chicana critics as well as Chicana writers are engaged in the fascinating task of recuperating our culture, our roots, our inheritance, our identity. Angela de Hoyos, poet, writer, creator is not only one of the first Chicana writers to explore the socio-political realities of the Chicano experience in a Iyric way, she is also one of the best. What Marcela Aguilar accomplishes in this study of"The Multi- faceted Poetic World of Angela de Hoyos" is the serious, painstaking analysis that a poet of de Hoyos' stature deserves. Focusing on three published works and various unpublished texts, Aguilar's explorations of the complex techniques de Hoyos uses to construct her poetry are lucid and enlightening. Written in clear and direct languages, Aguilar explores not only the semantic content of de Hoyos' socio-political texts but also the cross semination of the linguistic influences of English to Spanish and vice versa. Aguilar clearly demonstrates that for de Hoyos code-switching (language crossing) is not a surface attribute—that part of de Hoyos' original poetic contribution lies in the linguistic tension underlying the text. Aguilar leads us through the process of the alteration of both English and Spanish through the re- creation of English and Spanish vernacular, leading to polisemic and trisemic meanings: that is, the use of deep cultural and linguistic contexts which |
underlies the apparently simple surface language. De Hoyos' ability to
underscore irony, criticism, humor and myth through this linguistic and
cultural tension is at the heart of her art. Aguilar further explores
and illuminates the tensions, devices and techniques of the use of ordinary,
everyday language, trite phrases, advertisements and clichés which
give de Hoyos' work its depth and which enhances her poetic meaning—a
meaning which although social and ideological in content, nevertheless
evades harsh and strident polarities. 8888 |
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8888Part I: Introduction
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Angela de Hoyos' social-political poetry is, in part, a function of her attempt at self-definition. By the late 1960's, she began to write socially-conscious poetry in order to project a positive self-image. The use of code switching in Chicano Poems: for the Barrio was a deliberate attempt to preserve her Mexican-Hispanic heritage: ...there was very little within the corpus of English (Establishment) literature to which the Chicano(a) could relate. But then we ourselves had not quite outlined our true image—we had not yet identified ourselves as a distinct and evolving people. We had to stand up and shout: "here I am! not as you have stereotyped me, but as I really am!" and from that premise proceed to record our reality; these books are part of that reality; they represent my commitment primarily to myself and to my people who inspired them. De Hoyos' commitment to her people was intensified by the Chicano Movement. In 1975, she became an active participant, reading her poetry at Festival Floricanto III, San Antonio, Texas. The following year, she read her poetry at "Sol y Sangre—Expresion Chicana", Chicano Poetry Series, Albuquerque, and subsequently at Canto al Pueblo II", Corpus Christi. She has since participated in other ways, restricting her activities to the Austin and San Antonio areas. De Hoyos became acutely aware of the need to identify herself as a Chicana. Even though she wrote socially-conscious poetry before her "Chicano Movement" experience, this experience reinforced certain thematic preoccupations and, one would assume, instantly gave her a listening and reading public. |
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Whereas descriptive renditions abound on Chicano literature, Marcela Aguilar summarizes some of the background, leaves other points understood, but most of all delves into the many corridors of Angela de Hoyos' poetics and insight. In her attempt to deal with the specific, she concentrates on the detail instead of the impressionistic generality. Her study turns out to be at times an inner journey into the poet by revealing what makes the latter tick and how her Chicana social condition emanates naturally and instinctively. What occurs is a process of unclothing a poetic language that has been molded by an interlingual and intercultural mind and spirit experience. Meanings and nuances spring up like newly discovered landscape to show the poetic motives of one of the most outstanding contemporary Chicana poets. |
Interestingly enough, what emerges is a culturally loaded
world that is highly charged with dynamism and a tense interplay of convivencia.
Marcela Aguilar goes one step further to document what Juan Bruce-Novoa
described as interlingualism, Philip Ortego called binary phenomenon and
Tino Villanueva termed bisensitivity Above all, she proves that Chicano(a)
poetry can be studied, examined and judged by conventional stylistic resources
and techniques but that it is even more true that the literature demands
of readers/critics a background encompassing at least two cultural currents
to adequately unveil meaning and understand confluence. . 8888 FRANCISCO A. LOMELI, PH.D. 8888University of California at Santa Barbara |
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888ANGELA DE HOYOS-A CRITICAL LOOK Literatura chicana es una realidad insoslayable que tuvo su eclosion
mas significativa durante la decada de los sesenta (luchas por los derechos
civiles, guerra de Vietnam, etc.).' La literatura chicana surge, en parte,
motivada por la necesidad que impone una realidad huerfana de cronistas
y se ha venido perfilando a medida que evoluciona; por ende, sus partes
constitutivas apenas si empiezan a ser sistematizadas y estudiadas. No
obstante, su funcion (no en balde esta literatura ha surgido de pugnas
reivindicatorias) puede visualizarse con mayor claridad; poco habremos
de referirnos a los elementos que mas la definen, pero estaremos acudiendo
constantemente a los objetivos de la literatura chicana porque ellos habran
de servirnos para ubicar a nuestra autora en el marco socio historico
que nos permitira entenderla mejor. |
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