Kristen J. Grandfield
The objectives for this unit are:
1. Students will write before, during and after reading. The writing will have students journaling, answering questions and writing pieces similar to the ones they are reading. Also, they will be revising initial writing and understanding of what is being read;
2. Students will identify the writer and/or narrator's voice in literature written by female African Americans and Latinas;
3. Students will write pieces that express their own voice and their own experiences in life;
While teaching this curriculum unit, lessons include background information as well as reading and writing activities. The unit will be taught as part of the American Literature of junior year or as a supplemental unit for World Literature in the senior year. The literature by Latinas and African American women is different than the "usual" and traditional pieces found in the classroom literature and textbooks. I chose Julia Alvarez, Sandra Cisneros, Ntozake Shange and Nikki Giovanni because of their accessibility to students as well as the messages each writer sends. The four very different writers can be used as tools for teaching and identifying literature. Also by modeling (using the poetry or excerpts they read as examples or as a framework), students get the opportunity to develop their own voice.
It is important to understand the terms: Hispanic and Latino. Although one may think the terms are interchangeable, those in the Latino and/or Hispanic community might disagree. The term
Hispanic
is used by the US Census Bureau meaning all Spanish speaking persons in both hemispheres. Technically, the term Latino means of Latin American descent meaning that it cannot be used for countries like Spain that are not located in Latin America. While researching, I noticed that the term Hispanic is actually deemed quite offensive to Latinos. Writer Sandra Cisneros wrote, "The term Hispanic makes my skin crawl…it's very colononistic…a term imposed on us without asking what we wanted to call ourselves…the 'dominant culture' imposed this label on Latinos as a way of erasing their identify and their past" (Miranda). For the sake of this curriculum unit, we will use the term Latino/a.
The information below is simply an overview of Latina and African American literature. Both cultures are so rich with literary figures and literary tradition that it would be impossible to include all writers, styles and movements. This overview is simply a place to begin and to refer to when students have questions. Teachers can easily access detailed information on the Internet as well as in a variety of books and journals.
Latina and African American Literature
Latina Writers
Latino literature is filled with tradition, culture, prejudice and transition. Writers range from those born in the United States to immigrant parents to young girls coming to American from the Dominican Republic or Mexico. The language found the various Latin poems, essays and stories is intentional and purposeful; often it is intertwined with endearing, and not so endearing, Spanish phrases.
Much Latino literature is undoubtedly influenced by the United States. Puerto Rican literature has a great history and place in writing. Initially, Puerto Rican literature was that of political exiles who came to America in the late 1800s. Although Puerto Ricans
should
have been viewed as part of the United States because of their political ties, writers (and everyday citizens for that matter) were seen as foreign nationals. These nationals wrote testimonials and impressions of their first years in the United States (mainly in New York City) in diaries and correspondences. So much of this immigrant literature was modest in size, told in the first person and filled with hopes for advancement and civic participation (Flores).
It was not until the 1960s that "Nuyorican" voices emerged and the Puerto Rican writing went against the grain of America. This boldness opened the door for writers to begin speaking their minds and telling what it was really like in America. Also, writers were working to dispel stereotypes of Latinos perpetuated in works like
West Side Story
and
La Vida
. The United States became a topic once again but it was truly a more realistic view of the hardships and prejudice Puerto Ricans faced (Flores).
Mexican or Chicano writers had a similar experience once in the United States. However, the Mexicans viewed themselves as having "been here" before the Anglo-Americans. In 1924, the US Border Patrol was created and effectively changed migration from Mexico into the Southwest. Early Chicano literature predates the Spanish/American war and eventually tells of the increasing presence of Anglos in the Southwest during the 18th and 19th centuries (Paredes).
An early literary form most identified with Southwestern Chicanos is the
corrido
– a narrative song that chronicles the life of a hero who overcomes all odds and prevails. Initially an oral tradition, the corrido gives a voice to the Mexican struggle for survival. Corridos are certainly a style of poetry students can model and relate to (Paredes, McKenna).In later years the corrido has come to take on a variety of forms. It can be either an epic, lyric or narrative poem or ballad that details much more than the life of a hero. Often the corrido will speak of struggle or hardships as well.
Female Chicano writers often write of the same struggles of men: trying to fit in and survive in the United States. The 1980s had a great influx of women who wrote of social struggle, isolation and freedom. Sandra Cisneros and Gloria Anzaldua are two of the foremost Chicana writers. Although Chicano refers to writers of Mexican decent, the similar plights and struggles can be found in a lot of Latina literature. Specific cultural differences can be found within different communities but overall, writers highlight many of the same emotions (McKenna).
Students will undoubtedly find a connection between the Latino struggle and triumph and the trials and tribulations of their own lives. Often teenagers are looking to be heard by parents, teachers and other adults. This desire to be heard is found in much of the Latino literature. The poetry and literature emerging from the Latino canon speaks of truth and a literary and cultural freedom. Word choice, as Julia Alvarez notes, is deliberate because writers often had to learn the English language and experiment with meaning and strength. There was a pressure to
not
write in their native tongue that forced this very purposeful act (Paredes, McKenna).
Latino literature and African American literature share many similarities. Themes of struggle, freedom and identity are woven through so many literary pieces throughout history. Not unlike Chicanas and other Latinas, African American women fought to be heard in a society where they struggled for very basic rights and freedoms. The literature is also rich with tradition and values stemming from family and from their roots (whether those roots are from Africa or from specific areas of the United States).
African American Writers
Throughout history, African American literature has grown and the voices have grown stronger. Early African American writers were often slaves and abolitionists. But it is necessary to note that there is a great difference between storytelling and writing. Slaves often told stories but lack of education and resources led to theirs being an oral tradition; legacies of stories were passed on from generation to generation (Siasoco).
Phillis Wheatley was one of the first Black writers to make a name for herself. She was lucky enough to receive tutoring from her owners and master the English language. Wheatley's work was controversial not only because she was a woman but because she was also a bonded slave. Access to printing resources allowed her to become one of the first prominent female Black writers (Siasoco).
During the Harlem Renaissance, African American writers, musicians, actors and artists flourished. Zora Neale Hurston wrote
Their Eyes Were Watching God
in the 1930's and Dorothy West wrote
The Living is Easy
. Both novels were drastically different in content but served to tell the world about the lives of women during times of war, segregation and prejudice (Siasoco).
The Civil Rights Movement brought both men and women writers of color to the forefront. Activists became playwrights and represented Black life on stage. Lorraine Hansberry, writer of
A Raisin in the Sun
portrayed a poor Black family living in Chicago (Siasoco).
As time has moved on, African American women have certainly become part of the growing literary canon. Classic (and quite famous) writers such as Nobel Prize Winner Toni Morrison, Pulitzer Prize Winner Alice Walker and Maya Angelou can be studied side by side with modern writers, Ntozake Shange, Nikki Giovanni and Patricia Powell. Two important writers of the last twenty years are Nikki Giovanni and Ntozake Shange. Both women use their writing to give a voice to African American women and their plight both as females and as a minority (Siasoco).
Writers Who Made A Difference
Teaching voice involves choosing examples that truly speak to the students, especially those of color. The following information highlights four writers, two Latina and two female African American who not only write in a way that is appealing and relatable but who also have a voice for their particular community.
Why these four writers? In researching Latina writers and female African American writers, Julia Alvarez, Sandra Cisneros, Nikki Giovanni and Ntozake Shange appeared over and over. What stands out is the fact that each of these women writes about what she knows and does not feel that because of her gender that she should keep quiet about certain topics. Sandra Cisneros writes about growing up, sexual discovery and rape. Shange writes about abuse and lose of virginity. Alvarez and Giovanni both look at issues of family, struggle and freedom. These are all themes that teenagers face as they are growing up and discovering what they believe and what they want for their lives. There is no doubt that the students will relate to the writers style and/or messages and will be able to recognize the voice of the narrator.
Julia Alvarez
"I have a voice and I'm saying things"
- Julia Alvarez
Novelist, poet and essayist Julia Alvarez speaks to women of color, to women writers and to the world. Author of well known novels,
How the Garcia Girls Lost Their Accents
and
In the Time of Butterflies
, she is a voice for the Latina community. Born in New York City at three months old, her parents returned to their roots in the Dominican Republic until Julia was ten years old. In the Dominican Republic, she actually lived a very "American lifestyle". Alvarez wrote, "I had gone to an American school and spent most of the day speaking and reading English. At night, my prayers were full of blond hair, blue eyes and snow…" ("Julia Alvarez"). Her family was obsessed with American culture and had strong ties to the United States; her grandfather was an ambassador to the United Nations while her uncles were Ivy League educated. Ironically, their connection the United States would be what would ultimately save their lives.
Alvarez's father was involved with insurgents looking to overthrow Rafael Trujillo during the 1950s and 1960s. Initially, the Dominican government would not touch a family with such strong ties to the United States, but in 1960, the police began surveillance on the Alvarez compound and Julia's father knew he needed to leave the country or his life would be in danger. Julia and her family returned to New York City in the 1960.
Alvarez felt that returning to New York City would be a homecoming; she was sadly very wrong. Entering an American school having spoken English laced with Spanish did not prepare her at all. Alvarez wrote, "I did pick up enough English to know the natives were not very welcoming. Spic! My classmates yelled at me. Mami insisted the kids were yelling, Speak! And then she wonders where my storytelling genes come from" (Alvarez). Her experience led her to writing and reading. Eventually, Alvarez went on to earn bachelor and graduate degrees and ultimately, becoming a teacher. Learning about the obstacles Alvarez faced and how she is not afraid to speak out about them can show students the value of words and the value of rising above potential oppression.
When reading Alvarez's work as well as countless interviews, it is clear she is a natural storyteller comfortable speaking of her truth and experience. As with all writers, she is often asked what led her to writing. Alvarez notes that coming to the United States and learning a new language encouraged her natural ability. She notes that not (truly) understanding the language forced her to be aware and deliberate with every word. Alvarez said, "I also discovered the welcoming world of imagination and books" (Alvarez). Latino culture, as observed by Alvarez, was often one of oral tradition and coming to the United States allied reading and writing with storytelling.
Learning a new language also forces writers to look at word choice. The analysis of words makes a person pay attention to "why people are saying things one way as opposed to another"7 Non native speakers have to really listen and become acutely aware of the power words have. This deliberate act places so much more power and emphasis on words and forces a writers' voice to become more significant (Garner).
Philosophically, Alvarez believes her writing speaks for women, especially Latina women. She began writing seriously during college and realized as "Afro-Americans" were emerging they were struggling to become part of the literary canon. Non-white, non-mainstream writers faced a great challenge, yet Alvarez kept writing because that is what was in her to do ("Julia Alvarez").
Sandra Cisneros
I think that as human beings many people touch us, especially people we love the most and we can't help but do character sketches when we go to our art.
- Sandra Cisneros
____
Poverty. Suppression. Identity. Gender. All issues addressed in Sandra Cisneros's poetry, essays and short stories. Cisneros was born in 1954 and is the author of
The House on Mango Street, Women Hollering Creek
and a myriad of poetry books. As a Chicano-American writer, she creates characters that are distinctly Latino and separated from mainstream America. Cisneros uses great sensory imagery and deliberate dialogue. In both of her short story books, which are essentially collections of vignettes, the female narrators allow the reader to see adolescence through the eyes of a young Latina growing up in the United States.
The House on Mango Street
's narrator, Esperanza, tells us of family life, Latin tradition, familial obligation and feeling isolated (Amaya-Roldan).
Cisneros's literary voice is that of her people. She creates real people from her own experience. Her voice also stemmed from an "imbalance" in her life; she realized as a Chicano she was different and unique (Amaya-Roldan). In turn, she created a voice for her race, her gender and her class. Also, Cisneros became a voice for the struggle of women emerging from very patriarchal communities who would rather see women not speak of real life and possibly, cultural secrets (Amaya-Roldan).
Cisneros finds inspiration for her literary voice in a variety of places. She is influenced by religion, family and her culture. She seeks to immerse herself in her characters and her dialogue (Sagel). Conveying the way an author finds inspiration can help students find different ways to jump start their own writing and creativity.
The House on Mango Street
is a collection of vignettes written from the perspective of young Esperanza growing up in New York City. The collection introduces the reader to a variety of characters, such as the three aunts who give Esperanza sage advice helping her through rough times. There is also her friend Sally who teachers her that growing up is not always easy in the selection,
The Monkey Garden.
The novel can be used in part or as a whole to introduce students to Latina literature and to help them model their own writing.
Ntozake Shange
"I am gonna write poems til I die and when I have gotten otta this body, I am gonna hang round in the wind and knock over everybody who got their feet on the ground."
- Ntozake Shange
Born Paulette Williams in 1948, Ntozake Shange is a major writer in the African American community. Shange is the oldest of four and grew up in middle class St. Louis. Despite her middle class status, she endured racism and prejudice as a part of the desegregation forced by the
Brown vs. Board of Education
decision.
Her parents were both educators and Shange came into contact with prominent writers, leaders and artists of the 1950s and 1960s. In fact, W.E.B. Du Bois was often a family visitor as Shange was growing up. Although she had many financial and social advantages, Shange suffered a lonely and silent angst. By eighteen years old, she had attempted suicide a number of times and often felt bitter and alienated (Bridges).
In 1971, Shange officially changed her name to the African name: Ntozake (which means "she who comes with her own things") Shange ("who walks like a lion). The name change was a symbolic transformation from deep resentment and isolation to a discovery of inner strength and redirection of life. Before even reading her work, women can sense her need to empower herself and redirect her passion and energy.
For Colored Girls Who Have Thought of Suicide/When the Rainbow is Enuf
is Shange's most notable work. Her choreopoem is a "drama of self-celebration because all-too-human black women are presented who are preoccupied with living and surviving" (Bridges). A choreopoem can be categorized as a mixture of spoken word, dance, music and prose. The choreopoem has seven different women dressed in seven distinct colors emphasizing their suffering at the hands of black men and their ability to survive and overcome these hardships. The poetry is moving but portrays black men in a very negative light. They are the "beasts" that lie, seduce, beat, rape and abandon. Although not the experience of
every
woman, it is a view into the lives of women who are imprisoned and abused (Bridges).
Nikki Giovanni
"Talk to me, Poem…I'm all alone…Nobody understands what/I'm saying"
- from Shoulders are for Emergencies Only
Leader and writer Nikki Giovanni has been a revolutionary poet and a voice for over 20 years. Giovanni emerged in the 1960s, becoming a "Black Rights" poet with her personal and political poetry. She sought to take her own personal experiences and make them universal and principal to all people. Such a writer can easily create literature that readers can relate to and find meaning in.
Giovanni's political poetry showed awareness towards the mentality of "an oppressed race, the anger and the desire to break free from oppression at all costs" (Wahlburg). Giovanni also sought to expose truth, like so many other writers. Her truth comes from her daily experience and what she viewed as the process of overcoming oppression. She often focused on her audience and what she could convey to them. She spoke of new beginnings and overcoming bitterness in an effort to come out on top.
Nikki Giovanni's poetry is a "case of the heart" in which truth finds its way onto the page. Giovanni strongly feels that her Southern and Appalachian voice comes through because of her sense of remembrance and independence unique to her location. She says "I'm just a poet looking at the world" and she is expressing her views to the reader (Wahlburg).
Giovanni is undoubtedly remembered as a revolutionary poet of the civil rights movement. She fought against white oppression with bold language and a defiant stand. Her first book of poetry was
Black Feeling, Black Talk
(1968); followed shortly after by
Black Judgment
and
Re:Creation
. "Voices from the Gap" identifies Giovanni's motives on her first book as clearly conveying the "importance of … awareness about the rights of African Americans" (Wahlburg).
Nikki Giovanni has clearly created a voice for herself in the literary
and
political worlds. She can be used in the classroom to show students how to not only identify the voice of revolution but also to show the effects of a strong and lasting career in literature. She is also an author who writes about her own truth – the truth she observes and the truth she lives as an activist, a writer and simply, as a human being (A Poetic Equation: Conversations Between Nikki Giovanni and Margaret Walker). Emphasizing truthful writing (and by truthful, we mean writing about what one knows and lives each day as opposed to strictly fictional writing) can help novice writers become comfortable with their own ideas and observations.
Giovanni began writing decades ago and still remains current today. Modern readers can look to her for observations of life, in poems such as "the train to Knoxville". They can also look to her for commentaries on modern life and modern figures in poems such as "Sanctuary: For Harry Potter the movie". Her writing lends itself to a variety of uses in the classroom. Her poems have an honest, deliberate tone that speaks to readers' integrity, values and genuine humanity. Her writing style is free and she often writes in poem form as well as in prose form. Giovanni's poems allow for classes to discuss the style as well as the content making them perfect to use in a High School Language Arts class (Wahlburg).