The Hybridist Limit Transgression Of Anzaldua

757 words - 3 pages

Gloria Anzaldúa's Tlilli, Tlapalli is a hybrid literary work that includes aspects of poetry, fiction and nonfiction. By not transgressing the limits of a single genre, the story gives the reader a better sense of the actual inmixing of the cultures of which it speaks. The story comments upon itself in various places, and Anzaldúa within the story calls the piece "an assemblage, a montage" (Geyh 185). It is this "montage" that sets the tone for what Linda Hutcheon calls the "transgression of previously accepted limits" (Hutcheon 9). It is this "transgression of limits" that the reader must identify in order to understand Tlilli, Tlapalli. The story is the apparent assimilation of (literary) art, and in that offers the reader a look into an interlacing of cultures, while also offering a personal narrative in what appears to be the author's own voice. The story blends boundaries together to create this sense of blended cultures and to separate itself from the traditionally static cultural descriptions.Tlilli, Tlapalli opens with summary narrative given by a first person narrator. By doing this, Anzaldúa lays a foundation for the rest of the story. The narrator, in just the third paragraph, tells the reader how, when she tells stories, she "learned to give [them in] installments" (Geyh 184). It is not long after this that the story gets its first subheading (to pave the way for a new installment) "Invoking Art", and thus creates the illusion of an essay, and not a personal narrative. An essay - factual, persuasive, or argumentative - in some respect contradicts the very form of a typical narrative. The author writes "I realize down is up"¦I recognize"¦oppositions can propel"¦" (Geyh 191). Here, Anzaldúa is not straying from a postmodern perspective, as according to Linda Hutcheon the term "˜postmodern' itself can often be replaced with the term "˜contradictory' (Hutcheon 12).Anzaldúa explicitly states in the story: "My "˜stories' are acts encapsulated in time, "˜enacted' every time they are spoken aloud or read silently" and goes on to call them "performances" (Geyh185). Here, the reader is given a concrete fusion of literature and theater. This is a blending of genres, which can help the reader to understand Anzaldúa's images of "totem poles, cave...

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