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The Cha Cha Files:: A Chapina Poética, by Maya Chinchilla
Download PDF The Cha Cha Files:: A Chapina Poética, by Maya Chinchilla
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About the Author
Maya Chinchilla is a Guatemalan, Bay Area-based writer, video artist, and educator with an MFA in English and Creative Writing from Mills College. She writes and performs poetry that explores themes of historical memory, heartbreak, tenderness, sexuality, and alternative futures. Her work —sassy, witty, performative, and self-aware— draws on a tradition of truth-telling and poking fun at the wounds we carry. Born and raised in Long Beach, CA, by a mixed class, mixed race, immigrant activist extended family, Maya has lived and loved in the Bay Area for the second half of her life. Her work has been published in anthologies and journals including: Mujeres de MaÃz, Sinister Wisdom, Americas y Latinas: A Stanford Journal of Latin American Studies, Cipactli Journal, and The Lunada Literary Anthology, and is quoted (and misquoted) in essays, presentations and books on U.S.-Central American poetics; Chicana/Latina literature; and identity, gender, and sexuality. Maya is a founding member of the performance group Las Manas, a former artist-in-residence at GalerÃa de La Raza in San Francisco, CA, and La Peña Cultural Center in Berkeley, CA, and is a VONA Voices and Dos Brujas workshop alum. She is the co-editor of Desde El Epicentro: An anthology of Central American Poetry and Art and is a lecturer at San Francisco State University.
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Product details
Paperback: 130 pages
Publisher: Korima Press; 1 edition (May 6, 2014)
Language: English
ISBN-10: 0988967383
ISBN-13: 978-0988967380
Product Dimensions:
5.5 x 0.3 x 8.5 inches
Shipping Weight: 7.8 ounces (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
4 customer reviews
Amazon Best Sellers Rank:
#349,493 in Books (See Top 100 in Books)
I was assigned to write a synopsis on a book that covers a wide range of topics for my Women's Studies/Latina Issues course. Most students chose novels, but as a daughter of a Chicano father, and Salvadoran mother, I wanted to choose something that not only spoke to my generation, but also spoke to me as daughter of Central America. Maya Chinchilla does for "American Central Americans" what Gloria Anzaldúa and CherrÃe Moraga have done for Chicanas and Boricuas living in the "in-between spaces." A fantastic representation of the complexity, and passions within Latinas living bordered identities. Chinchilla writes inclusively, as a revolutionary, feminista, spiritual, intellectual. This is a refreshing representation of our culture and her poetry is thoughtfully collected and well-organized. I am so happy I found this book.
This book is amazing! The vocabulary is simple yet the statements it makes are so powerful. It really illustrates how one's intersectionalities shape the way we navigate the world. As a Chapina myself, I am also really content that this book brings to the fore front how difficult it is to navigate as Central American as well.
This book is really unique.
The work of Maya Chinichilla in The Cha Cha Files proved to be incredibly thought-provoking, passionate, and entertaining. Her identity as a Central American of Guatemalan and Mayan decent growing up in America, allows her, “to make up what it means to be Guatemalan-hyphen-American†in many of the rooms she finds herself in. I believe the most crucial point to arise out of The Cha Cha Files was the concept of searching for identity within the constructs American society provides. Her poetry gives a vivid and emotional portrayal of what it is like to attempt to situate yourself and come to terms with your identity in a cultural context that demands its actors choose a defined role.Chinchilla, writing as a queer Latina woman, is able to offer a perspective on questions of identity that sets aside a theoretical outlook and embraces the subjective experience. The quote from the opening paragraph comes from one of the most powerful poems of the collection, What it’s Like to Be a Central American Unicorn for Those Who Aren’t, where her experience as a woman who is forced to associate with “an imaginary homeland,†comes to the forefront. It is not that Chinchilla rejects her heritage, but rather the many ways in which one may expect her to connect to a Guatemalan identity (language, indigenous customs, etc.) do not always apply to her life. This feeling of disconnect to her roots is exemplified when she says, “I haven’t been ‘back’ in ten years.†Throughout her work she comes to grips with the fact that she is neither embraced as an American (a “unicorn†in American society), nor does she finds herself able to understand what it means to have grown up in Guatemala and be forced to migrate. She is a product of the diaspora, not an agent within it.The power of Chinchilla’s work comes in the many facets through which she explores her fluid identity: her sexuality, her precarious situation as a Central-American (or is it Central American?), and her family’s denial of their Mayan heritage. I saw her poetry to be one of the most effective mediums for portraying to a reader the experience of a queer Latina women. She displays a refined ability to articulate the boundaries and expectations society has of her because of her outward appearance. In Too Much To Be, she beautifully shows the ways her outward appearance affects her everyday life. She recounts the story of a man she is dancing with questioning her identity as a Guatemalan because of her physical appearance, bringing to light the many generalizations made about Latina women. In reality, as Chinchilla says many times, she is a bridge connecting two worlds; standing in the middle she falls under the gaze of both sides. Chinchilla, through what I would identify as an activist stance, shows an incredible strength and conviction, exposing the societal judgments the two sides of the bridge hold of her. Her work confirms her position at, as she calls it, a “new epicenter,†a middle-ground that begs for further examination by readers.
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