Jimmy Santiago Baca Satire

The family of Luis Rodriguez, like many Mexican Americans in the border regions from the 1950’s to the 1960’s, faced much disparity in the social and economic realm of their new homes and communities. Living in the United States, they believed, would allow for growth and opportunities not possible in Mexico. In their quests to lead a better life, the heads of many households had to work hard and long hours in order for the sustainment of their livelihood and in Luis Rodriguez’s case, both of his parents worked long and hard hours. Rodriguez’s parents wanted better for their family, but their journey to Los Angeles would forever change the trajectory of the life they envisioned for their family and, namely, for Luis Rodriguez. Born in El Paso, Texas, the Rodriguez family moved back and forth between the border and the region of Chihuahua, Mexico.

Chavez examines the assumptions made by the media and the public by drawing in sources like magazine articles and illustrations to provide the audience with exactly how these accusations are made and shared with the public. Chavez questions what it means and what it takes to be considered an American citizen and how Latinos, particularly Mexicans, have many things stacked up against. There are no doubts that the number of undocumented immigrants has steadily increased each year. Leo R. Chavez argues that because of the rise in the numbers, it makes it easier for the media to assume that undocumented immigrants, particularly Mexicans, are a threat to our nation through an invasion. Chavez’s idea of a Mexican reconquest is developed through something he calls the Quebec model.

When I was small, I didn't understand English, and you kept flunking me and flunking me instead of teaching me (Valdez, 78). The message behind Francisco’s statement is disappointing in that white people have the power to teach immigrants their ways if they want to learn, and help them understand without hostility, but more times than not, they will choose to just yell and be rude instead. Now in college, Moctezuma and Florence, a white woman, are in an interracial relationship and live together. There was a situation in “No Saco Nada De La Escuela” where Florence used a stereotype of Latinxs when talking to Monty, saying: FLORENCE:

Jimmy Santiago Baca primarily uses a sarcastic tone in “So Mexicans are Taking Jobs from Americans,” to get his message across that Mexicans are not simply stealing jobs from Americans. Many consider the topics and ideas that the poem tackles too political for discussion; however, Jimmy decided to share his ideas anyways. Jimmy Santiago Baca tries to make his strong argument in his poem by sharing what he sees in the overall situation. Jimmy is also trying to persuade others to think the way he does by using a sarcastic tone throughout the poem. Depending on the reader, the poem can either be effective or ineffective based on the reader’s views.

Oftentimes when reading texts about liberation, whether the liberation is physical, metaphorical, or otherwise, there is a tendency to expect an overcoming narrative of sorts. Namely, when presented with a figure that is suffering, an audience expects a clean ending. However, concerning memoirs, this isn’t always the case. If anything, overcoming narratives within autobiographical texts can flatten out the nuances and struggles that are presented within, making the arc of the text seem flat and unconvincing. This is far from the case with Jimmy Santiago Baca’s autobiography, A Place to Stand.

Espada gives another example with his poem, Offerings to an Ulcerated God, where he translated for a Latino victim named Mrs. López. The judge dismissed her since she couldn’t speak English, and commanded her to move out and pay rent without trying to listen to her explanation. Espada’s experiences and examples of the poor treatment Latinos bear serves as evidence to his argument of how Latinos suffer misrepresentation in

The majority of illegal immigrant’s chances for success is limited. It is more likely for people who have already been successful in life to achieve their dream than those have not had the chance to. The Tortilla Curtain illustrates the hardships and the discriminations illegal immigrants face with higher class Americans. The coyotes symbolize the immigrant’s lifestyle and how they are viewed with disdain and mistrust. The Arroyo Blanco community presents those who view the immigrants as such, and how difficult it is to break down ignorance barriers to be accepted into it.

Many stories embody the cultural aspects of Mexican-Americans and their struggles with living in a discriminatory society. Stories like With

The immigrants entering the United States throughout its history have always had a profound effect on American culture. However, the identity of immigrant groups has been fundamentally challenged and shaped as they attempt to integrate into U.S. society. The influx of Mexicans into the United States has become a controversial political issue that necessitates a comprehensive understanding of their cultural themes and sense of identity. The film Mi Familia (or My Family) covers the journey and experiences of one Mexican-American (or “Chicano”) family from Mexico as they start a new life in the United States. Throughout the course of the film, the same essential conflicts and themes that epitomize Chicano identity in other works of literature

“The virtual personas of Latino immigrants (represented as a threat to the nation) make the authority that has accumulated for real immigrants in their role as workers and consumers vanish” (Chavez 47). In the public eye Latinos are depicted as noncompliant and dangerous citizens and noncitizens of the United States. “The virtual lives of ‘Mexicans,’ ‘Chicanos,’ ‘illegal aliens,’ and ‘immigrants’ become abstractions and representations that stand in the place of real lives” (Chavez 47). It is depressing to understand that the majority of the United States strictly sees Latinos as these distorted images. At the end of the day each individual’s life matters, we all need to become more compassionate for one another.

Situated near the U.S.-Mexico border during the early twentieth century is the fictional setting of Fort Jones, the outskirts of which is where Americo Paredes’ short story “Macaria’s Daughter” takes place. Emblematic of the disappropriation of Mexican land, as well as the increased marginalization of the Mexican people, the overbearing presence of Fort Jones reveals the struggle for preservation that characterizes the Mexican-American community of the story. “Macaria’s Daughter” is the tragic account of what happens in a small community when the upholding of Mexican values and institutions, and opposition to Anglo-American culture, become more important than a young woman’s life. In this essay, I will argue that “Macaria’s Daughter” is a text

Cofer addresses the cultural barriers and challenges that Latinos experience through emotional appeal, anecdotal imagery, parallelism and the use of effective periodic sentences. In her article, Cofer assesses the difficult cultural hurdles of Latin Americans with emotional appeal. She provides insight on her cultural barriers by first conveying the way she had to dress and her struggle, as it shows in this piece of text, “That morning I had organized… which to base my decision” (Cofer 5). This poignancy works to stress an agonizing feeling of uncertainty and restraint towards the author.

Octavio Paz, a Mexican poet and essayist, is one of the many philosophers with a written piece regarding his understanding of Lo Mexicano. Paz’s “Sons of La Malinche” was first published in the Labyrinth of Solitude in 1950 and is a rather grim interpretation of the Mexican character, however, it captures the crisis of identity that Mexico was burdened with after the conquest. Paz uses the Spanish term “chingar,” (when literally translated means “to screw, to violate”) and its associated phrases to understand the conquest and the effect

As a young child, after being told of how poor her houseboy Fido was, Adichie did not believe his family could also be hardworking. “Their poverty was my single story of them. ”(Adichie) She also details how later, on a trip to Guadalajara she was overwhelmed with shame because her only image of Mexicans was the “abject immigrant” due to the “…endless stories of Mexicans as people who were fleecing the healthcare system, sneaking across the border, being arrested at the border, that sort of thing.” (Adichie)a She was caught by surprise when she saw Mexicans happy and at work in the marketplace.

In the poem “To live in the Borderlands means you”, the borderlands become a place of change, such as changing from just one culture or race into a diverse culture or race and not-belonging. (Singh, A., & Schmidt, P. 2000). The poem describes how the author’s own background ethnicity people, mixicanas, identifies people like her, chicanas, as “split or mixture that means to betray your word and they deny “Anlo inside you.” (Anzaldua, F. 1987). The poem describes that the borderland is a place of contradiction, such as of home not being a home.