Cherríe Moraga Quotes

Silence is like starvation.

One of the deepest wounds Chicanos suffer is separation from our Southern relatives. Gloria Anzaldúa calls it a "1,950-mile-long open wound," dividing México from the United States, "dividing a pueblo, a culture." This "llaga" ruptures over and over again in our writing, Chicanos in search of a México that never wholly embraces us. "Mexico gags," poet Lorna Dee Cervantes writes, "on this bland pocha seed." This separation was never our choice.

After publishing Loving in the War Years (1983) which was very autobiographical, my own story had finally been told on the page. This allowed space within me for character (some one other than myself to enter) my unconscious…

The "unknown" is often depicted in racist literature as the "darkness" within a person. Similarly, sexist writers will refer to fear in the form of the vagina, calling it "the orifice of death." In contrast, it is a pleasure to read works such as Maxine Hong Kingston's Woman Warrior, where fear and alienation are described as "the white ghosts." And yet, the bulk of literature in this country reinforces the myth that what is dark and female is evil. Consequently, each of us-whether dark, female, or both-has in some way internalized this oppressive imagery. What the oppressor often succeeds in doing is simply externalizing his fears, projecting them into the bodies of women, Asians, gays, disabled folks, whoever seems most "other."

I read all the work of white women and the "bibles" of feminism, Marxist feminism, radical feminism, and social feminism. They were all providing a base of analysis for me to understand feminism and to figure out how Marxism coheres with that or how it doesn't. I wanted to get a handle on understanding my own oppression, the oppression of the women around me, and of my culture. So what happens is that you read all that stuff, and then you ask, What's missing in the picture? That's what then made me primarily reflect on black feminism. By and large, black feminists at that time were not writing theory, with some exceptions, of course. I was reading the poets and the novelists like Toni Morrison, Pat Parker, Audre Lorde, and Alice Walker. I read Walker's Meridian in the early days. At that time black feminists were the only ones who were articulating a kind of class, race, and gender analysis. So that's sort of your natural progression. You think about what is missing in that picture, and you bring it to your own kind. Those were my first influences. In recent years I read much more Native American women's work than anything else; for example, Leslie Marmon Silko and Linda Hogan. I feel an affinity within to these women's work. Their writings run closer to the Chicano experience, given the fact that we both have native roots here in the United States.

The danger lies in attempting to deal with oppression from a theoretical base. Without an emotional, heartfelt grappling with the source of our own oppression, without naming the enemy within ourselves and outside of us, no authentic, non-hierarchical connection among oppressed groups can take place.

Sometimes in the face of my own/our own limitations, in the face of such world-wide suffering, I doubt even the significance of books. Surely this is the same predicament so many people who have tried to use words as weapons have found themselves in-Cara a cara con el enemigo, qué valen mis palabras? This is especially true for Third World women writers, who know full well our writings seldom directly reach the people we grew up with. Sometimes knowing this makes you feel like you're dumping your words into a very deep and very dark hole. But we continue to write-to the literate of our people and the people they touch. We even write to those classes of people for whom books have been as common to their lives as bread. For finally, we write to anyone who will listen with their ears open (even if only a crack) to the currents of change around them. The political writer, then, is the ultimate optimist, believing people are capable of change and using words as one way to try and penetrate the privatism of our lives. A privatism which keeps us back and away from each other, which renders us politically useless.

I urge my students que se aprovechen el momento of their college years; to look beyond conventional career-oriented concerns toward something deeper, toward the discomfort and wonder of real conciencia, which comes, as the educator Paulo Freire understood, through a self-determined, self-defined education. I never let my students forget that their elite education wants them to do otherwise, to look away from the pueblo-self as the source of knowing. Through the practice of creative writing, I have found students uncovering glimpses of knowledges heretofore obscured and untouched.

I hold a vision requiring a radical transformation of consciousness in this country, that as the people of color population increases, we will not be just another brown faceless mass hungrily awaiting integration into white Amerika, but that we will emerge as a mass movement of people to redefine what an "American" is. Our entire concept of this nation's identity must change, possibly be obliterated. We must learn to see ourselves less as US citizens and more as members of a larger world community composed of many nations of people and no longer give credence to the geopolitical borders that have divided us, Chicano from Mexicano, Filipino-American from Pacific Islander, African-American from Haitian. Call it racial memory. Call it shared economic discrimination. Chicanos call it "Raza,"-be it Quichua, Cubano, or Colombiano-an identity that dissolves borders. As a Chicana writer that's the context in which I want to create.

I am not talking here about some lazy faith, where we resign ourselves to the tragic splittings in our lives with an upward turn of the hands or a vicious beating of our breasts. I am talking about believing that we have the power to actually transform our experience, change our lives, save our lives. Otherwise, why this book? It is the faith of activists I am talking about.

my deepest sense of myself has not quite "caught up" with my "woman-identified" politics

But it is not really difference the oppressor fears so much as similarity. He fears he will discover in himself the same aches, the same longings as those of the people he has shitted on. He fears the immobilization threatened by his own own incipient guilt. He fears he will have to change his life once he has seen himself in the bodies of the people he has called different. He fears the hatred, anger, and vengeance of those he has hurt.

Class, I think its class above all else. Because the way class operates in this country is related to race. What I have noticed is that when white women and white lesbians relate to women of color what they’re really sort of connecting with is that they’re middle class. What really divides queer people in general not just lesbians is class. If you look at working class lesbians, including white women, that’s a really different world…

The amazing efficacy of patriarchy is that it is a covert operation. It is entre nos, just between us - man and woman, sister and brother, father and daughter, queer and not so queer. It takes place behind closed doors, inside la hacienda and back there in the slave quarters. It is so seamlessly woven into the fiber of our lives that to pull at that dangling thread of inequity is to rip open an entire life.

it wasn't until long after my graduation from the private college I'd attended in Los Angeles, that I realized the major reason for my total alienation classmates was rooted in class and culture. CLICK.