19 pages • 38 minutes read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Mexican American literature began to take shape in the latter half of the 1800s. This development of the field followed the Mexican American War, which ended with Mexico ceding what is today known as the American Southwest. With the Treaty of Guadalupe Hidalgo, tens of thousands of Mexican citizens became U.S. citizens and found themselves navigating new political territory overnight.
Initially, upper-class government officials and priests writing in Spanish led the field. Some of these works took the shape of plays and oral stories that communicated folk tales and critical historical events, as well as poems reflecting the ever-changing political landscape of the American Southwest. In “Teaching Chicano Literature: An Historical Approach,” Raymund Paredes notes that poetry in this period was often “lyrical, romantic, and meditative,” but a greater deal of it was politically charged.
This tradition of expressing political dissent through poetry exploded during the civil rights era of the 1960s, which greatly influenced Mexican American literature. This era saw the advent of publishing houses that produced many influential works in the field, leading to the “Chicano Literary Renaissance” that lasted through the 1970s. During this time, many influential works were published that reflected the multicultural experience: raised in Anglo society while of Mexican descent. Writers often wrestled with issues of identity, particularly the difficulty of establishing a unified identity that represented both their Americanness and Mexican heritage without erasing either.
Though Mexican American literature climbed into the mainstream in the 1990s, the publications in the 1980s from smaller presses—such as The House on Mango Street by Sandra Cisneros and Sapogonia by Ana Castillo—set the stage for this literary boom. The works published during the 1980s expanded upon the social consciousness of the 1970s and brought a new focus on Chicana writers. Chicana writers explored the sense of alienation they faced, being discriminated against because of their race and gender. While many works in this period tackled institutional racism, immigration, feminism, diasporic identity, sexuality, and various social issues, others moved away from political issues to more universal themes.
Pat Mora’s writing career began in the 1980s against this historical backdrop. Mora’s writing is deeply influenced by the geography and culture of the Southwest, her upbringing alongside Mexican traditions and folktales, political and social issues, and the idea of nepantla. Nepantla is derived from the Nahuatl word meaning “land in the middle” and is used as a concept in Mexican American literature and art to describe the experience of living on the border between two cultures.
Poems such as “Legal Alien” directly communicate the conflicts of border life in the context of racism and xenophobia, adding to the rich legacy of political Chicana poetry. The poem also demonstrates the idea of nepantla, as the speaker must navigate a liminal space between two unaccepting cultures, creating a third space on the “fringes of both worlds.”
Aside from broader cultural critiques, Mexican American literature in the latter half of the 20th century was characterized by unique plays of language, such as the use of Spanglish and code-switching, or alternating between two languages in a text. Though she writes for a primarily English-speaking audience, Mora’s work is filled with code switches between English and Spanish. In “Legal Alien,” Mora does not directly translate the Spanish phrase in the poem, instead leaving the work of translation up to the English speaker and offering what she calls a “double pleasure” to the bilingual reader who can read the poem with additional insight and recognition.
Alongside her prolific writing, Mora’s advocacy and activism for bilingual literacy and including Mexican American works in the literary canon has made her influential in Mexican American literature and beyond. Her efforts to integrate Mexican American culture into children’s literature will ensure that her core message and vision will persist with future generations.
Mora’s first collection of poetry was published in the 1980s. This decade was controversially dubbed the “Decade of the Hispanic” by the American news media due to the increasing political visibility and social prominence of Spanish-speaking people in the United States. While there was some truth to this term, ultimately it was criticized as a marketing ploy that did not capture the complete picture of the decade. In the face of progress, there was also a fierce cultural debate about affirmative action, language, and immigration.
The 1980s saw tensions rise between the U.S. and Mexico with the conservative presidency of Ronald Reagan and the continued “War on Drugs” from earlier administrations. Immigration was a primary source of this tension, as Mexico experienced a debt crisis that led to thousands of people seeking a better life in the United States. This increase in legal immigration coincided with high levels of unemployment in the U.S., leading to a resurgence of anti-immigrant sentiment by those who felt immigrants were taking jobs away from Americans. In addition, throughout the 1980s and 90s, over 20 states enacted “English Only” laws that sought to make English the United States’s official language.
“Legal Alien” speaks to the zeitgeist of this period, offering a viewpoint of a legal immigrant facing discrimination in a context of xenophobia in 1980s America. During a time when much progress had been made for Mexican American people, the poem demonstrates that their work to become respected and accepted was far from over. These struggles continue even today, in the early 2020s.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Pat Mora