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In compelling first-person accounts, Latinas speak freely about dealing with serious health episodes as patients, family caregivers, or friends. They show how the complex interweaving of gender, class, and race impacts the health status of Latinas—and how family, spirituality, and culture affect the experience of illness. Here are stories of Latinas living with conditions common to many: hypertension, breast cancer, obesity, diabetes, depression, osteoarthritis, rheumatoid arthritis, dementia, Parkinson’s, lupus, and hyper/hypothyroidism. By bringing these narratives out from the shadows of private lives, they demonstrate how such ailments form part of the larger whole of Latina lives that encompasses family, community, the medical profession, and society. They show how personal identity and community intersect to affect the interpretation of illness, compliance with treatment, and the utilization of allopathic medicine, alternative therapies, and traditional healing practices. The book also includes a retrospective analysis of the narratives and a discussion of Latina health issues and policy recommendations. These Latina cultural narratives illustrate important aspects of the social contexts and real-world family relationships crucial to understanding illness. Speaking from the Body is a trailblazing collection of personal testimonies that integrates professional and personal perspectives and shows that our understanding of health remains incomplete if Latina cultural narratives are not included.

With images of Jennifer Lopez’s butt and America Ferrera’s smile saturating national and global culture, Latina bodies have become an ubiquitous presence. Dangerous Curves traces the visibility of the Latina body in the media and popular culture by analyzing a broad range of popular media including news, media gossip, movies, television news, and online audience discussions.Isabel Molina-Guzmán maps the ways in which the Latina body is gendered, sexualized, and racialized within the United States media using a series of fascinating case studies. The book examines tabloid headlines about Jennifer Lopez’s indomitable sexuality, the contested authenticity of Salma Hayek’s portrayal of Frida Kahlo in the movie Frida, and America Ferrera’s universally appealing yet racially sublimated Ugly Betty character. Dangerous Curves carves out a mediated terrain where these racially ambiguous but ethnically marked feminine bodies sell everything from haute couture to tabloids.Through a careful examination of the cultural tensions embedded in the visibility of Latina bodies in United States media culture, Molina-Guzmán paints a nuanced portrait of the media’s role in shaping public knowledge about Latina identity and Latinidad, and the ways political and social forces shape media representations.

In this interdisciplinary volume, contributors analyze the expression of Latina/o cultural identity through performance. With music, theater, dance, visual arts, body art, spoken word, performance activism, fashion, and street theater as points of entry, contributors discuss cultural practices and the fashoning of identity in Latino/a communities throughout the US. Examining the areas of crossover between Latin and American cultures gives new meaning to the notion of "borderlands." This volume features senior scholars and up-and-coming academics from cultural, visual, and performance studies, folklore, and ethnomusicology.

In Shaming into Brown: Somatic Transactions of Race in Latina/o Literature, Stephanie Fetta asserts that our bodies are fundamental to how we live and how we make meaning. Anchored by two psychoanalytic theories, bioenergetic analysis developed by Alexander Lowen and affect theory put forth by Silvan Tomkins, Fetta examines Latinx fiction to draw attention to the cultural role of the intelligent, emotional, and communicative body—the soma—in relation to shame. She argues that we bring the soma—the physical, emotive, and social register of our subjectivity—to the text as we do to our lives,proposing that the power of racialization operates at the level of somatic expression and reception through habituated, socially cued behaviors that are not readily subject to intentional control. Fetta examines shame beyond individual experiences, looking at literary renderings of the cultural practice of racial shaming that are deeply embedded into our laws, hiring practices, marketing strategies, and more. Grounding her analysis in the works of Gloria Anzaldúa and Cherríe Moraga, Shaming into Brown focuses on exposing the underpinnings of racialized shame and does so through analyzing “scenes of racialization” in prominent works by authors such as Junot Díaz, Sandra Cisneros, and Oscar Zeta Acosta.

In Shaming into Brown: Somatic Transactions of Race in Latina/o Literature, Stephanie Fetta asserts that our bodies are fundamental to how we live and how we make meaning. Anchored by two psychoanalytic theories, bioenergetic analysis developed by Alexander Lowen and affect theory put forth by Silvan Tomkins, Fetta examines Latinx fiction to draw attention to the cultural role of the intelligent, emotional, and communicative body—the soma—in relation to shame. She argues that we bring the soma—the physical, emotive, and social register of our subjectivity—to the text as we do to our lives,proposing that the power of racialization operates at the level of somatic expression and reception through habituated, socially cued behaviors that are not readily subject to intentional control. Fetta examines shame beyond individual experiences, looking at literary renderings of the cultural practice of racial shaming that are deeply embedded into our laws, hiring practices, marketing strategies, and more. Grounding her analysis in the works of Gloria Anzaldúa and Cherríe Moraga, Shaming into Brown focuses on exposing the underpinnings of racialized shame and does so through analyzing “scenes of racialization” in prominent works by authors such as Junot Díaz, Sandra Cisneros, and Oscar Zeta Acosta.

Cultural Writing. Latino/Latina Studies. Art. A human body, fruit, a flower, a child, a fish, a horse, an old photograph photographed in the snow--in her images this Mexican artist collects lost fragments, fragments of everyday life, some melancholic, some agonizing, of her homeland, Mexico, and her reminiscences; she allows us to perceive all the sensuality and physicality of the body and facial expression, all the nostalgia for a world unavoidably becoming lost in the great shift towards approval. Hers is a language which, with the passing of time, has touched upon not so much the simplicity as the secret complexity of the subject. A language that is pure theatre. If it is true, as Walter Horatio Pater wrote, that all art has a tendency towards music, we may perhaps consider this path through thirty images of Silent Nature (and generally, her entire collection) as a kind of musical variation on a theme. A Borgesian game of chess, in which the board and piecesmultiply and are transformed, as in a dream. Born in Mexico City in 1957, her two homes are in Stabio (Ticino canton, Switzerland) and Tepoztlan (Mexico). She studied at the San Carlos Academy in her home city, and then became assistant to Manuel Alvarez Bravo until 1980, when she began her independent career as photographer. She published her first book of photography in 1985, Magia del juego eterno. Many others followed, amongst which: Bestiarium, Witnesses of Time, Mestenos and Mummenschanz. Her works are displayed in no less than 35 museums.

Poetry. Latino/Latina Studies. Bilingual Edition. Translated from the Spanish by Daniel Borzutzky. "In Zurita's writing, these are the realities of a contaminated, homicidal nation. The shame of the political has been absorbed by the natural. The blood and the bodies of the disappeared, now scattered throughout the landscape, have become part of the homeland, the Chilean soil. It's a rhetoric of shame, of loss, of unquantifiable and unspeakable violence."—Daniel Borzutzky

From the exuberant excesses of Carmen Miranda in the "tutti frutti hat" to the curvaceous posterior of Jennifer Lopez, the Latina body has long been a signifier of Latina/o identity in U.S. popular culture. But how does this stereotype of the exotic, erotic Latina "bombshell" relate, if at all, to real Latina women who represent a wide spectrum of ethnicities, national origins, cultures, and physical appearances? How are ideas about "Latinidad" imagined, challenged, and inscribed on Latina bodies? What racial, class, and other markers of identity do representations of the Latina body signal or reject?In this broadly interdisciplinary book, experts from the fields of Latina/o studies, media studies, communication, comparative literature, women's studies, and sociology come together to offer the first wide-ranging look at the construction and representation of Latina identity in U.S. popular culture. The authors consider such popular figures as actresses Lupe Vélez, Salma Hayek, and Jennifer Lopez; singers Shakira and Celia Cruz; and even the Hispanic Barbie doll in her many guises. They investigate the media discourses surrounding controversial Latinas such as Lorena Bobbitt and Marisleysis González. And they discuss Latina representations in Lupe Solano's series of mystery books and in the popular TV shows El Show de Cristina and Laura en América. This extensive treatment of Latina representation in popular culture not only sheds new light on how meaning is produced through images of the Latina body, but also on how these representations of Latinas are received, revised, and challenged.

Poetry. Latino/Latina Studies. Women's Studies. "How do we trace shifts of home or syllable, the history of becoming in language? We show what's passed on with the mother-milk, the blood-words, pushed from the body onto the page. That's what these poems do, spilling beautifully, forming in the mouth of the reader. This is the 'ark built to survive': our things built with words circling, mother-to-daughter-to- mother-to-daughter." — Eleni Sikelianos "Here are poems that reckon with the histories of family, generations, language and love: how our tongues are mothered or not, how we are given to and abandoned. Alcalá writes, 'What good is it to erect/ of absence/ a word?' Tough and gorgeous, smart and touching, these poems are offerings that tie, untie, unite, entice." — Hoa Nguyen "Rosa Alcalá's new poemario MYOTHER TONGUE begins in the archives of what has yet to be written. She writes with precision and dynamism from the borders between death (of a mother) and birth (of a daughter). What a body produces, and what produces a body: labor, trauma, memory, sacrifice, pain, danger, and language formed both on the tongue and in the culture and the spaces between what can be said and what is missing, the linguistic and existential problem of not having the right words. The darknesses in Alcalá's work emerge from what happens when we don't see ourselves in the languages that both form and destroy us as we labor in this 'dream called money.' Alcalá is a {un}documentarian of the highest order, a {un}documentarian of what history and memory try to erase. Her poems are urgent, demanding and haunting." — Daniel Borzutzky

Evoking the pleasures of music as well as food, the word sabor signifies a rich essence that makes our mouths water or makes our bodies want to move. American Sabor traces the substantial musical contributions of Latinas and Latinos in American popular music between World War II and the present in five vibrant centers of Latin@ musical production: New York, Los Angeles, San Antonio, San Francisco, and Miami. From Tito Puente's mambo dance rhythms to the Spanglish rap of Mellow Man Ace, American Sabor focuses on musical styles that have developed largely in the United States―including jazz, rhythm and blues, rock, punk, hip hop, country, Tejano, and salsa―but also shows the many ways in which Latin@ musicians and styles connect US culture to the culture of the broader Americas.With side-by-side Spanish and English text, authors Marisol Berríos-Miranda, Shannon Dudley, and Michelle Habell-Pallán challenge the white and black racial framework that structures most narratives of popular music in the United States. They present the regional histories of Latin@ communities―including Chicanos, Tejanos, and Puerto Ricans―in distinctive detail, and highlight the shared experiences of immigration/migration, racial boundary crossing, contesting gender roles, youth innovation, and articulating an American experience through music. In celebrating the musical contributions of Latinos and Latinas, American Sabor illuminates a cultural legacy that enriches us all.