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The First Last Generation: Queer Temporality, Heteropatriarchy, and Cultural Reproduction in Jovita González and Eve Raleigh’s Caballero

The First Last Generation: Queer Temporality, Heteropatriarchy, and Cultural Reproduction in... Th e First Last Generation Queer Temporality, Heteropatriarchy, and Cultural Reproduction in Jovita González and Eve Raleigh’s Caballero Lee Bebout Let the world whirl in madness. Rancho La Palma would never change. Th e Mendoza line never die. — Jovita González and Eve Raleigh, Caballero In her second collection of prose and poetry Cherríe Moraga ex- poses her reasons for titling the book Th e Last Generation (1999). Moraga sits on the sofa in the front room of her family’s home and ruminates upon the political and temporal distance from the Chicano movement of the 1960s and 1970s. During el movimiento Chicanas/os forged a political consciousness of cultural pride and resistance to white supremacy, taking to the streets, fi elds, and bal- lot boxes to fi ght for equality. In the 1990s Moraga looks back with nostalgia, for the future is marked by an end to ethnic heritage and energized political consciousness (8, 148). She laments the pheno- typic erasure of la Mexicana in her niece and the gradual Hispanici- zation of Mexican Americans: My family is beginning to feel its disintegration. Our Mexican grandmother of ninety- six years has been dead two years now and la familia’s beginning http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Western American Literature The Western Literature Association

The First Last Generation: Queer Temporality, Heteropatriarchy, and Cultural Reproduction in Jovita González and Eve Raleigh’s Caballero

Bebout, Lee.
Western American Literature , Volume 49 (4) – Feb 15, 2015
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Publisher
The Western Literature Association
ISSN
1948-7142

Abstract

Th e First Last Generation Queer Temporality, Heteropatriarchy, and Cultural Reproduction in Jovita González and Eve Raleigh’s Caballero Lee Bebout Let the world whirl in madness. Rancho La Palma would never change. Th e Mendoza line never die. — Jovita González and Eve Raleigh, Caballero In her second collection of prose and poetry Cherríe Moraga ex- poses her reasons for titling the book Th e Last Generation (1999). Moraga sits on the sofa in the front room of her family’s home and ruminates upon the political and temporal distance from the Chicano movement of the 1960s and 1970s. During el movimiento Chicanas/os forged a political consciousness of cultural pride and resistance to white supremacy, taking to the streets, fi elds, and bal- lot boxes to fi ght for equality. In the 1990s Moraga looks back with nostalgia, for the future is marked by an end to ethnic heritage and energized political consciousness (8, 148). She laments the pheno- typic erasure of la Mexicana in her niece and the gradual Hispanici- zation of Mexican Americans: My family is beginning to feel its disintegration. Our Mexican grandmother of ninety- six years has been dead two years now and la familia’s beginning

Journal

Western American Literature – The Western Literature Association

Published: Feb 15, 2015

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