These are my remarks as part of the MLA 16 roundtable: Repair and Reparations in Digital Public Spaces.
As I begin to pull together my thoughts on the subject of repair and reparations, I find the ideas I had in January 2015 when Adeline and I, over plates of Korean fried chicken first began discussing the subject of reparations in digital spaces are not the same as they are today in January 2016.
Originally, and in keeping with our Texas location, I was most concerned with issues of how digital tools, themselves at best neutral, are used and abused to re-enforce and expand the hegemonic imperial nation state, to militarize and police the US Mexican border against and at the expense of economically and politically colonized bodies.
I’m still concerned with this, but I want to focus my remarks this afternoon on issues of repair versus reparation. Much has been discussed recently on care and repair practices. So why then use the term “reparation”? Repair can be a positive thing. The term denotes fixing, making something that doesn’t work or properly function or function better. But repair is also utilitarian and philosophically neutral. Repair is not revolutionary. Physical repairs, as Gloria Anzaldúa discusses in Borderlands, are forever being made to the border wall, the 1,950 mile open wound, where the ocean meets the shore, where Tijuana touches San Diego. This decade has seen much fence and wall building and repair. Yet no one, I believe, would call these repairs “reparations.”… Read the rest
This was written as a position paper for MLA16’s roundtable Disrupting DH.
Note: The title of this piece is shamelessly borrowed from Barbara Noda’s “Lowriding Through the Women’s Movement,” a piece which creatively addresses the power a group made up of women of color could have on individuals during the women’s movement. It was published in the classic, This Bridge Called My Back: Writings by Radical Women of Color.
There has been wonderful work recently on #TransformDH by the TransformDH collective discussing how racial / gender / sexual / disabled bodies in the academy are and always have been doing digital humanities work. Nevertheless, because hegemony constantly replicates the dominant discourse, there needs to be a consistent and constant engagement with issues of race, ethnicity, gender, sexuality, class and able-bodiedness as its counter. To discuss this hegemony, I’m going to fall back on Chicana feminist praxis, which means locating myself and speaking from that position, with the hope that from that self-situated ethnography some insight into my concerns may come. This piece uses autoethnography to specifically discuss issues and effects of racial absence in the digital humanities community and what the costs of that may be. It begins to discuss how the discourse surrounding racial bodies and there absence in DH spaces replicates the discourse surrounding the invisibility / absence of women of color from second wave feminism.
Those who think Twitter is a waste of time, as opposed to it being a time-waster, are failing to see its potential.… Read the rest
This was a good morning. I was surprised and very pleased to find out that my paper for MLA14, “Our Kind of People: Textual Community and the Latina Edited Anthology” was accepted for inclusion in the Chicana and Chicano Literature Division ¿Anthologizing Latinidad? panel and that the roundtable special- session “Back Up Your Work: Conceptualizing Writing Support for Graduate Students,” which I’m on with Liana Silva, Abigail Scheg, Lee Ann Glowsenski and Tara Betts, was also accepted.
The abstract for my talk:
“Our Kind of People: Textual Community and the Latina Edited Anthology”
Readers see the authorial decisions as definitive while editorship remains invisible. Within a text, editors are seen, to the extent they are seen at all, as serving a generally administrative or organizational role. Yet in reality editors act as facilitators, filters and / or gatekeepers — albeit sometimes uncomfortable ones — deciding who and what is included and excluded, encouraging writing that otherwise might never be published or even written. By making these decisions, they decide whose thoughts merit inclusion, which ones belong and which do not, controlling how and if a subject or author will be presented. Still further, editors decide through which point of view or lens an artistic, social or political movement will be viewed. Discussing the role of editor, Norton editor Alane Salierno Mason, wrote “[e]diting a literary anthology is like forming a social club — you get to decide who are ‘your’ kind of people.” This paper focuses on anthologies as textual communities made up by women of color — especially Latinas.
… Read the rest