As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
I wrote...
Chica Lit: Popular Latina Fiction and Americanization in the Twenty-First Century
In Chica Lit: Popular Latina Fiction and Americanization in the Twenty-First Century, Tace Hedrick illuminates how discourses of Americanization, ethnicity,…
This is the book that started the Chica Lit subgenre (about thirty-something Latinas negotiating their lives, romances, and careers). I have many problems with it, but I like her humor and much of her making fun of stereotypes of Latinas is spot on. It also shows us the breadth of Latina lives, from the white, privileged Latina to the Afro-Latina struggling along. It’s the lynchpin of my book, since this is where it all started, for me and for the subgenre. It’s important to understand the messages popular Latinx literature gives us about gender and about Latinidad.
Alisa Valdés-Rodríguez's vibrant, can't-put-it-down novel of six friends--each one an unforgettable Latina woman in her late '20s--and the complications and triumphs in their lives
Inseparable since their days at Boston University almost ten years before, six friends form the Dirty Girls Social Club, a mutual support and (mostly) admiration society that no matter what happens to each of them (and a lot does), meets regularly to dish, dine and compare notes on the bumpy course of life and love.
Las sucias are:
--Lauren, the resident "caliente" columnist for the local paper, which advertises her work with the line "her casa…
I also write about this book in my work. I again have problems with it, but it gives a kind of slice-of-life snapshot of Cuban life at that moment (around 2005), and especially about jineteras, or “jockeys,” women who supplement their income by going out with wealthy foreigners. Doing research on that book gave me a look at Cuba that was invaluable. And it is sometimes funny. It serves as a kind of coda to my book in that it reproduces many of the rhetorical moves of other chica lit but in a completely different setting.
Based on the wildly popular, semi-autobiographical "Havana Honey" series published by Salon.com, Dirty Blonde and Half-Cuban is a gritty portrait of one woman's determination to infiltrate modern Cuba and find the father she has never known.
While on her search, privileged American Alysia Briggs ends up broke and alone in Havana. She's then forced to adopt the life of the jineteras -- educated Cuban women who supplement a desperate income by accommodating sex tourists.
With an eye for detail and a razor wit, Lisa Wixon relates Alysia's journey and creates a love song to Cuba, a heartfelt tribute to a…
As her title indicates, this book delves into the ways Latino/as are described, shaped, and marketed both to the United States and to themselves. Dávila, a social anthropologist, brilliantly exposes not just the workings of the neoliberal state on this process, but how marketing and demographic research by corporate interests shape the ways Latinas/os are commercialized not just with things like food but even with cities interested in “cleaning up” Latinx neighborhoods. My book looks at the way Latinx fiction does something of the same thing, including shaping the way Latinx poverty is seen as “inevitable” by these different players.
Both Hollywood and corporate America are taking note of the marketing power of the growing Latino population in the United States. And as salsa takes over both the dance floor and the condiment shelf, the influence of Latin culture is gaining momentum in American society as a whole. Yet the increasing visibility of Latinos in mainstream culture has not been accompanied by a similar level of economic parity or political enfranchisement. In this important, original, and entertaining book, Arlene Davila provides a critical examination of the Hispanic marketing industry and of its role in the making and marketing of U.S.…
Radway’s book was invaluable to me as a way to read the structure of Chica Lit, which depends on tropes and language from contemporary romance fiction. Her approach, which included a study of women who read nothing but romance in their time off, made many things clear about the pull of romance and its conventions for women. Her approach to the language and psychology of romance fiction also clarifies what makes these fictions, including Chica Lit, so appealing to women of all ages. This book came out in 1984 but is still for my money the best on romance fiction there is. My book leans on Radway to help describe the conventions of Chica Lit in order to understand its appeal to Latina readers, but also to understand the way patriarchy works in making these books both appealing but also how the “white” conventions sometimes come up against Latinx assumptions and stereotypes.
Originally published in 1984, Reading the Romance challenges popular (and often demeaning) myths about why romantic fiction, one of publishing's most lucrative categories, captivates millions of women readers. Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention ""must shift from the text itself, taken in isolation, to the complex social event of reading."" She examines that event, from the complicated business of publishing and…
Vallejo painstakingly lays out the way some Mexican Americans, usually the poorest of the minorities, struggle to make it into a specifically American middle class. She details how these Latinas/Latinos carefully shape themselves, and in turn are shaped by corporate and state interests, into an ethnicity that is for the most part deracinated and stripped of their more obvious “ethnic” attributes (as a small example, most drop the accent marks in their names). For my book, a look at the middle-class Latinx is a look at the desires and strivings of Latina writers and characters of Chica Lit.
Too frequently, the media and politicians cast Mexican immigrants as a threat to American society. Given America's increasing ethnic diversity and the large size of the Mexican-origin population, an investigation of how Mexican immigrants and their descendants achieve upward mobility and enter the middle class is long overdue. Barrios to Burbs offers a new understanding of the Mexican American experience.
Vallejo explores the challenges that accompany rapid social mobility and examines a new indicator of incorporation, a familial obligation to "give back" in social and financial support. She investigates the salience of middle-class Mexican Americans' ethnic identification and details how…
In Chica Lit: Popular Latina Fiction and Americanization in the Twenty-First Century, Tace Hedrick illuminates how discourses of Americanization, ethnicity, gender, class, and commodification shape the genre of “chica lit,” popular fiction written by Latina authors with Latina characters. She argues that chica lit is produced and marketed in the same ways as contemporary romance and chick lit fiction. Its stories about young women’s ethnic class mobility and gendered romantic success tend to celebrate twenty-first-century neoliberal narratives about Americanization, hard work, and individual success. However, Hedrick emphasizes, its focus on Latina characters necessarily inflects this celebratory mode: the elusiveness of meaning in its use of the very term “Latina” empties out the differences among and between Latina/o and Chicano/a groups in the United States.
About myself: As a novelist I’m crazy for detail. I believe it’s the odd and unexpected aspects of life that bring both characters and story worlds to life. This means that I try to be an observer at all times, keeping alert and using all five – and maybe six – senses. My perfect writing morning begins with a dog walk in the woods or on a beach, say, while keeping my senses sharp to the world around me and listening out for the first whisper of what the day’s writing will bring.
This book is a literary historical novel. It is set in Britain immediately after World War II, when people – gay, straight, young, and old - are struggling to get back on track with their lives, including their love lives. Because of the turmoil of the times, the number of losses, and the dangerous and peculiar circumstances people find themselves in, sexual mores have become shaken and stirred.
But what happened after the war, in the time of healing and settling down? This novel examines the emotional, romantic, and sexual lives of three characters searching for a way to proceed.
Love never dies in this novel by “a writer of addictive emotional thrillers” (The Independent).
Told from three perspectives A Particular Man is about love, truth and the unpredictable consequences of loss.
When Edgar dies in a Far East prisoner-of-war camp it breaks the heart of fellow prisoner Starling. In Edgar’s final moments, Starling makes him a promise. When, after the war, he visits Edgar’s family, to fulfil this promise, Edgar's mother Clementine mistakes him for another man.
Her mistake allows him access to Edgar’s home and to those who loved him, stirring powerful and disorientating emotions, and embroiling him…
