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This Bridge Called My Back: Writings by Radical Women of Color is a feminist anthology edited by Cherríe Moraga and Gloria E. Anzaldúa first published in 1981 by Persephone Press. The book centers on the experiences of women of color and emphasizes the points of what is now called intersectionality within their multiple identities, [ 1 ...
This Bridge Called My Back: Writings by Radical Women of Color: Written in the epistolary format [14] "La Prieta" 1981: Anzaldúa began writing this essay in 1979 and finished it in 1981. An autohistoria [15] "En Rapport, In Opposition: Cobrando cuentas a las nuestras" 1987: Sinister Wisdom — [16]
The letter was drafted in 1979 and was published in Anzaldúa’s feminist anthology This Bridge Called My Back: Writings by Radical Women of Color (1981). [1] Writing this essay in the format of a letter, Anzaldua urges the reader to “write from the body” and she connects her body to other bodies, creating a community of embodied people. [2]
Alarcón has a long history with This Bridge Called My Back, an anthology of writing by women of color. [6] She published an essay in the 1981 Persephone Press edition of Bridge called "Chicana's Feminist Literature: A Re-vision Through Malintzin/or Malintzin: Putting Flesh Back on the Object."
Cheryl Clarke is the author of "Lesbianism: an Act of Resistance", originally published in 1981 in the feminist anthology This Bridge Called My Back: Writings by Radical Women of Color. [11] The essay's main intervention is to expand the categories of who counts as a lesbian and what lesbianism is.
Doris Davenport, sometimes styled as doris davenport (born January 29, 1949), [1] is an American writer, educator, and literary and performance poet. [2] She wrote an essay featured in This Bridge Called My Back: Writings by Radical Women of Color entitled "The Pathology of Racism: A Conversation with Third World Wimmin."
Rosario Morales's two most recognized publications are Getting Home Alive and her contributions to This Bridge Called My Back. In addition, Rosario says in her interviews that the pieces of writing she is the most proud of are her writings in This Bridge Called My Back and her piece “Concepts of Pollution” in Getting Home Alive. [1]
The essay explores Anzaldúa's identity as a white/mestiza Tejana from a formerly affluent, sixth-generation Texan family. She explores the racism, colorism, sexism, heteronormativity, and classism of her parents and grandparents, who scorned her for being too dark-skinned and who identified with whiteness and Americanness rather than with Mexican, Indigenous, and Black people.