“Learning to Live Without Black Familia: Cherríe Moraga’s Nationalist Articulations” in Tortilleras: Hispanic and Latina Lesbian Expression, 240-257
The first anthology to focus exclusively on queer readings of Spanish, Latin American, and US Latina lesbian literature and culture, Tortilleras interrogates issues of gender, national identity, race, ethnicity and class to show the impossibility of projecting a singular Hispanic or Latina Lesbian. Examining carefully the works of a range of lesbian writers and performance artists, including Carmelita Tropicana and Christina Peri Rossi, among others, the contributors create a picture of the complicated and multi-textured contributions of Latina and Hispanic lesbians to literature and culture. More than simply describing this sphere of creativity, the contributors also recover from history the long, veiled existence of this world, exposing its roots, its impact on lesbian culture, and, making the power of lesbian performance and literature visible.
Christina Sharpe is a Professor and Canada Research Chair in Black Studies in the Humanities at York University.
Other publications from this author include:
- Ordinary Notes (2022)
- “The Crook of Her Arm” (2017)
- “Love Is the Message” in Love is the Message, the Message is Death (2016)
- In the Wake: On Blackness and Being (2016)
- “Three Scenes” in On Marronage: Ethical Confrontations with Anti-Blackness (2015)
- “Black Studies: in the Wake” The Black Scholar, Special Issue, The Boundaries of Black Studies (2014)
- “The Lie at the Center of Everything” in Black Studies Papers (2014)
- “Response to Jared Sexton’s “Ante-Anti-Blackness: Afterthoughts” for Lateral (inaugural issue of online, peer reviewed E-journal of the Cultural Studies Association) (2012)
- Monstrous Intimacies: Making Post-Slavery Subjects (2010)
- “Gayl Jones’ ‘Days that were Pages of Hysteria.'” in Revisiting Slave Narratives / Les avatars contemporains des récits d’esclaves, 159-176 (2005)
- “The Costs of Re-membering: What’s at Stake in Gayl Jones’s Corregidora” in African American Performance and Theatre History: A Critical Reader, 306-327 (2000)