An Analysis of Cantú's "Canícula: Snapshots of a Girlhood en la Frontera"

In the film “Mi Familia,” we follow the story of the Mexican-American Sánchez family who settled in East Los Angeles, California after immigrating to the United States. Gregory Nava and Anna Thomas introduce the story of this family in several contexts that are developed along generations. These generations hold significant historical periods that form the identity of each individual member of the family. We start off by exploring the immigrant experience as the family patriarch heads north to Los Angeles, later we see how national events like the great depression directly impact Maria as she gets deported, although she was a US citizen. The events that follow further oppress this family and begins separate identity formations. These

Sandra Cisneros’s Woman Hollering Creek and Other Stories depict the hardships that Mexican Americans face because of their complicated identity. In the story “Little Miracles, Kept Promises,” Chayo’s letter to the Virgin of Guadalupe illustrates the pressures placed on Mexican American women in a patriarchal society. Mexican American women are expected to conform to the role of being obedient, however Chayo illustrates the struggles she faces when she deviates from the norms enforced on her. Chayo’s experiences are common to Mexican American women; the obstacles that women encounter such as attaining sovereignty in their community is explained in Gloria Anzaldua’s “Borderland’s/La Frontera.” While Chayo resists conforming to her culture’s beliefs she grows to embrace her Mexican heritage once she begins to view it from a new and liberating perspective. Chayo symbolizes the power of breaking away from a patriarchal culture as she recreates the meaning of her own Mexican American heritage.

In Norma Cantu’s Canicula: Snapshots of a girlhood el la Frontera, she addresses the topic of identity which is examined through the photographs of her past. In her story, it’s about how she grew up between two different countries of the U.S and Mexico. The narrator is searching for who she is within the two countries, which makes it hard for her to find herself as one culture can criticize the other. In one of the stories, “Mexican Citizen” the narrator is now faced to identify her identity as she now gets her U.S immigration papers. In these papers we see that the color of her skin listed is “Blanco”, on the other hand, her Mexico documents state that she’s “Moreno”. This shows two different identities that based just on her color of her skin. The narrator is able to cross the border occasionally without her parents that she then realizes the conflict of between the two cultures when she decides to live with Mamagrande in Monterrey. She interacts with her cousins, but they don’t seem to get along with her very well since she doesn’t know their way of things “I sing to them silly nursery rhymes and tell them these are great songs: Humpty Dumpty, Jack and Jill, Little Miss Muffet, Old McDonald. They listen fascinated, awed, but then they laugh when I don’t know their games” (Cantu 23). We see that even though she can speak Spanish, the narrator still has trouble living in Mexico and she then faces problems trying to find her identity when she experiences the conflicts

In the book “The Assault,” by Harry Mulisch, the author demonstrates how the main character, Anton, becomes free of the influence of his memories by showing that Anton's approach to memory changes over the novel course of the novel – from protective denial to acknowledgment. However, what remains static is a constant self awareness that Anton shows in-regards to his attempts to repress these memories. During the beginning of the novel (post-tragedy) Anton is a shell of his memories of the night where is family was killed. This is shown through how many details of his character, from major life aspects such as his wife or his job, to insignificant things such as what sorts of media he likes, can all be traced back to his allegedly forgotten memories.  The

Cultural expectations have prevented humans from being able to lead their own lives the way they see fit. Gloria Anzaldúa and Sandra Cisneros are two notorious Mexican-American writers that wrote extensively about cultural borders and expectations. Anzaldúa came from the Mexico-Texas border, was a cultural and feminist theorist as well as English scholar, while Cisneros also comes from a Latino background and speaks from her cultural hybridity to illustrate cultural expectations. In this paper, I will use Anzaldúa’s “Borderlands / La Frontera” as a lens for Cisnero’s short story, “Woman Hollering Creek” to draw connections of cultural and gender expectations between two different genres of text.

Biographical criticism is used to identify and establish certain aspects of stories from an author’s experience. Most authors have demonstrated this theory by writing from their own personal memories. From Emily Dickinson to Stephen King, countless authors have either written from their own background or put him/herself into a story. Some have even re-written a terrible memory into the way they wanted that moment to turn out. John Updike and T.C. Boyle brought this theory to life in their works “A&P” and “Greasy Lake”. By reading these stories, one can feel a personal connection to them because they feel so profoundly relatable. Therefore, in “A&P” and “Greasy Lake”, one can grasp the actuality of the stories by putting themselves in the author’s shoes and remembering their youth.

Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative essay, and poetry. What is unique to Anzaldúa is her ability to weave a ‘perfect’ kind of compromised state of mind that melds together the preexisting cultures while simultaneously formulating a fusion of genres that stretches previously

In his essay Bajadas, Francisco Cantu explores the physical and emotional landscapes that shift during his time as a United States border control agent. He candidly writes about his experiences, using imagery to describe the physical landscape of New Mexico in a way that mirrors his own emotional landscape and answers the question that he grapples with most. Cantu writes, “There are days when I feel I am becoming good at what I do. And then I wonder, what does it mean to be good at this? I wonder sometimes how I might explain certain things…” (7). This important question is what drives Bajadas; it is what compels Cantu to write so vulnerably. Through a journal-like structure, Cantu details what his job requires of him and the way he treats

Borderlands/La Frontera: The New Mestiza by Gloria Anzaldua is full of personal narratives detailing the visible and invisible “ borderlands “ that exist within a race, gender, sexuality, and spirituality. Her essays and poems are based on her own personal experiences as a Chicana and lesbian activist. Through her writing, she challenges the true definition of the borderlands as more than a simple line that divides different cultures. It calls for those who are oppressors to change their attitudes and show support to those of the borderlands. By writing in both English and Spanish she expresses how one language would not be enough to describe her Chicana literature.

     “Let Us Now Praise Famous Men,” was written by James Agee and Walker Evans. The story is about three white families of tenant farmers in rural Alabama. The photographs in the beginning have no captions or quotations. They are just images of three tenant farming families, their houses, and possessions. “The photographs are not illustrative. They, and the text, are coequal, mutually independent, and fully collaborative.” (87) The story and the photographs contain relationships between them; in the essay I am going to inform you about the interpretations of the relationships between the readings of James Agee and some of the pictures by Walker Evans.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

The violent markings of the photo album and its images, however, produce an equally powerful message that jars the memory as it disrupts and distorts the photographic chronicle of her life and that of her family and friends. The result is a complex visual experience that addresses the use of images in producing knowledge and making history.

In everyone’s life there is a moment that is so dreadful and horrific that it is best to try to push it further and further back into your mind. When traumatized by death for example it is very natural to shut off the memory in order to self-defense suppresses the awful emotional experience. Very often it is thoughtful that this neglecting and abandoning is the best way to forget. In Toni Morrison’s novel Beloved, memory is depicted as a dangerous and deliberating faculty of human consciousness. In this novel Sethe endures the oppression of self imposed prison of memory by revising the past and death of her daughter Beloved, her mother and Baby Suggs. In Louise Erdrich’s

In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.

In the initial conceptualization of the theme in the work, I had two primary goals: The first was to attempt to repair what was broken in me after suddenly losing someone very close to me. The second was to establish a montage of images and observations that could somehow be universally relevant to the human experience of memory. There are many ways in which my theories, beliefs, and ideas regarding the subject of memory and loss changed over the course of creating this body of work, the most paramount of these being the universality of memory.