#chicana writing

[fl3shm4id3n]

Can you do a Mexican!reader x the Metkayina+sully kids?like her showing them about her culture.

Cᵤₗₜᵤᵣₑ

𝐒𝐮𝐦𝐦𝐚𝐫𝐲: 𝐓𝐡𝐞 𝐧𝐚'𝐯𝐢 𝐤𝐢𝐝𝐬 𝐝𝐢𝐝𝐧'𝐭 𝐤𝐧𝐨𝐰 𝐭𝐡𝐚𝐭 𝐡𝐮𝐦𝐚𝐧𝐬 𝐚𝐜𝐭𝐮𝐚𝐥𝐥𝐲 𝐡𝐚𝐝 𝐜𝐮𝐥𝐭𝐮𝐫𝐞𝐬. 𝐓𝐮𝐫𝐧𝐬 𝐨𝐮𝐭 𝐭𝐡𝐞𝐲 𝐡𝐚𝐝 𝐦𝐨𝐫𝐞 𝐭𝐡𝐚𝐧 𝐣𝐮𝐬𝐭 𝐨𝐧𝐞 𝐭𝐡𝐢𝐧𝐠 𝐢𝐧 𝐜𝐨𝐦𝐦𝐨𝐧.

ᴛʜᴇ ꜱᴜʟʟʏ ᴋɪᴅꜱ x ʟᴀᴛɪɴᴀ/ᴄʜɪᴄᴀɴᴀ! ʜᴜᴍᴀɴ! ʀᴇᴀᴅᴇʀ (ᴘʟᴀᴛᴏɴɪᴄ), ᴍᴇᴛᴋᴀʏɪɴᴀ ᴋɪᴅꜱ x ʟᴀᴛɪɴᴀ/ᴄʜɪᴄᴀɴᴀ! ʜᴜᴍᴀɴ! ʀᴇᴀᴅᴇʀ (ᴘʟᴀᴛᴏɴɪᴄ)

Tw: None ♡

A/N: Hopefully this is to your liking ♡, sorry if I missed anything.

Masterlist

The Sully and Metkayina kids that humans didn't have culture, or their culture was just technology. That was until they met you. A girl that was apparently with a group who had been helping the Na'vi against the RDA. At first they were a bit skeptical towards you since they've never seen you before, but they decided to give you a chance. You seemed very on going and nice to them. You had a very nice aura and welcoming personality. The kids liked you instatly.

They were very curious to know about you, how you lived and whatever else they asked. When you had told them that you were from a different race, they grew more curious. They thought all humans were the same, but no. You had told them about your culture. That was when they had learned that you were completely different from the humans that they've known and heard. You had told them everything, from the beginning. They were almost fascinated. The humans were like the na'vi, they had their owns 'clans' and own cultural customs. They wanted to learn more. So you told them almost everything that you could.

The kids also noticed a few things about you. How you never put your purse anywhere near the ground. You carried a hippy bag over your shoulder, which held your belongings and other things you liked the carry. No matter where you were, your purse never touched the ground ever. They thought it was weird, when they asked you on why you did that. You told them that it was considered by luck to put your purse on the floor. That's when they understood on whenever you sat on the floor on the sand, your purse would be on your lap, nowhere near the ground.

One night that you were all hanging in the marui of the Sully's you decided to tell them scary stories. You told them the typical story of 'La Llorona' they seemed very interested and a bit scared, they asked a lot of questions on why a woman would do such actions. You explained to them that the story is to teach that your actions have consequences.

Another thing about you, was how you respected the elders. It was common for them to also show respect for the much older people in the clan, but you? You would show them as much respect. When you were asked to do something, you'd do it no questions asked. Even towards the adults. Normally they argue on why they had to do it, you wouldn't ask why you had to do what you were told. You'd just do it.

You've also told them how you valued family. You'd explain how family was the only that was close to you and the only people you can rely on when you need it. You've also told them that not all family is considered to be loyal, and how some can be very toxic. They understood where you came from, they too also thought as their family as valuable like you did.

[massiveladycat]

hello!! i'm planning to be a future writer, and i want to make more hispanic ocs in the future. but, i'm not hispanic. i'm a black woman, yes, but hispanic and black experiences may be very different. i'm trying to research the culture and i'm learning the spanish language already, but i'd love if some hispanic people on tumblr could tell me the do's and don't's of writing a hispanic character and a few tips. thank you very much, and please feel free to tell me if anything comes off as offensive because that's not my goal here

[lil-olme3]

Que-ubo!?

Hola, my name is Lesly & I am a Phoenix-based artist, non-profit worker. Not much to my name right now, but I am working on that. On this blog you will find super random topics varying from my Chicana identity, witchcraft, imposter syndrome, and random blurbs or stories.

If you every wanna chat, please hit me up on instagram: lesly_p.figueroa_.

"Que-ubo" translates to "What's up?" in Spanish.

[himbo-in-limbo]

Cómo sería la reacción de Carla al ver que Ohma tiene a alguien común y corriente como pareja? En plan no forma parte de ningún clan, no lucha y además es extranjero. Un s/o que no se relaciona con el mundo de las luchas ni tampoco ser el más fuerte

¡Me imagino que Karla estaría furiosa y frustrada por no ser la esposa de Ohma!

incluso si Karla se llama súcubo, no es como si pudiera seducir a Ohma de ninguna manera. pero me pregunto si ese duro rechazo que recibiría la volvería loca. Aun así, no importa qué pareja de Ohma sea, Karla podría odiarlos simplemente porque tienen que estar con Ohma. o la de ellos es una buena posibilidad de que a ella no le importe??? ¿¿¿¿¿¿Y aún así intentas seducirlo de todos modos??? Realmente no hemos visto a Karla reaccionar ante otra mujer seduciendo a Ohma correctamente. así que, ¡quién sabe cómo reaccionará ella cuando él tenga una pareja!

(perdón si esto está mal traducido soy un mexicano vergonzoso que no sabe hablar mi propia lengua materna 💀)

[fepearl19]

While making my business PowerPoint, I created a quote of perfection.

-A.F

[cloudlatte]

i can acutely feel the thrum between my temples and the ache of my fingers picked apart. my eyes carry the weight of my affliction, my mouth trembling and serving as a lock and key. 

the ache in all of my muscles renders me almost lifeless but does not commit to killing my anxieties, my torments, or my shame. 

[soyfrijolesblog]

Broken Tongue

Her tongue is broken

I can hear their Judgmental whispers

¿No eres Mexicana?

Yes, I am Mexican! I want to shout.

However, I reply Sí one of the few Spanish words I know

Unsure of my own identity.

Am I Mexican if I lost my native language?

I understand  only simple Spanish sentences

The Women then began to burst out words that seemed twisted, almost like Brujas spewing curses so quickly,

I felt lost, like when playing the game of Lotería with older Señoras; I could not keep up. I wanted to say wait, but I was ashamed and embarrassed about not knowing my people's language.

I say loudly No hablo español

The Women give me an evil eye.

I have no The mal de ojo bracelet (The red bracelet around my wrist to protect me from their harsh glares)

¿Por qué no? ¡Estás hablando español ahora!

Yo ahora muy poco

Necesitas aprender espanol

I want to scream out that you need to learn English!

However, that would make me racist against my people

although they are racists against me;

I reply Sí

They laugh and mock me; I smile and play along,

they will continue to talk to me only in Spanish even if one knows some English because, to them, I am not white; however, I am not Mexican

I was not one of them, until I learned Spanish

I am a sin, a black sheep. I am a Chicana with a broken tongue

[spiderqueenfriday]

Habitual NPC Attempts to Become Human(ish)!

Oh hi, Tumblr. I’m Friday (she/her/ella), queerdo Chicana tea witch chef ballerina fandom dweeb, aspiring death doula and brand new baby writer of horror & surrealist melancholia. I’ve been here a long time, off and on, but like, not really BEEN here, you know?

You may already know me as the founder and synesthete blend crafter behind the gross majority of the teas at Friday Afternoon Tea. I LOVE IT. Talk about jobs you have to pinch yourself over. My whole life revolves around brewing love and blending empathy and crafting space for folks to feel Seen and Safe and Welcome. The thing about building a life in fae-adjacent service to one’s community is this: it tends to disappear a person’s other facets. Kinda lonely an experience, and I end up feeling a bit like a mosquito net a good majority of the time.

There are other sides to this human Care Bear, and those sides are toothy and twisted and gleefully morbid. They’re daydreamy and wandering and liminal. They’re big slabs of shale with glacial melt sluicing around and about. Know what I mean?

I’m trying to learn to grow my bravery and individuality back, both of which I think I set down somewhere around my second pregnancy, which in my world looks like stealing a speck of time now and again to write creep-ass nonsense, geek about witchcraft, books I’m reading, spooky fashion and death care work.

If you want to follow a wannabe end of life midwife and author of spooky bummers, wassup! Let’s get weird!

[cljocean]

Not knowing if you have someone else is killing me because I’m not seeking anyone else but you

No saber si tienes a alguien más me está matando porque no busco a nadie más que a ti

& yet I have to act like I don’t care!

Y aún así tengo que actuar como si no me importara!

[fl3shm4id3n]

Can we get a part 2 of Mexican!reader where maybe she shows them some Mexican clothes and tradtional dances?

Cᵤₗₜᵤᵣₑ ₚₐᵣₜ ᵢᵢ

𝐒𝐮𝐦𝐦𝐚𝐫𝐲: 𝐘𝐨𝐮 𝐰𝐚𝐧𝐭𝐞𝐝 𝐭𝐨 𝐬𝐡𝐨𝐰 𝐭𝐡𝐞 𝐤𝐢𝐝𝐬 𝐦𝐨𝐫𝐞 𝐨𝐟 𝐲𝐨𝐮𝐫 𝐜𝐮𝐥𝐭𝐮𝐫𝐞, 𝐬𝐨 𝐲𝐨𝐮 𝐝𝐞𝐜𝐢𝐝𝐞𝐝 𝐭𝐨 𝐬𝐡𝐨𝐰 𝐭𝐡𝐞𝐦 𝐚𝐛𝐨𝐮𝐭 𝐜𝐥𝐨𝐭𝐡𝐢𝐧𝐠 𝐚𝐧𝐝 𝐝𝐚𝐧𝐜𝐢𝐧𝐠.

ᴛʜᴇ ꜱᴜʟʟʏ ᴋɪᴅꜱ x ʟᴀᴛɪɴᴀ/ᴄʜɪᴄᴀɴᴀ! ʜᴜᴍᴀɴ! ʀᴇᴀᴅᴇʀ (ᴘʟᴀᴛᴏɴɪᴄ), ᴍᴇᴛᴋᴀʏɪɴᴀ ᴋɪᴅꜱ x ʟᴀᴛɪɴᴀ/ᴄʜɪᴄᴀɴᴀ! ʜᴜᴍᴀɴ! ʀᴇᴀᴅᴇʀ (ᴘʟᴀᴛᴏɴɪᴄ)

Tw: None ♡

Masterlist

The kids seemed to really like learning about your culture. So you decided to teach them some more about it. Luckily you had found stuff from back home, it bellowed to your mom. You decided to take them to the kids to show them what they were. You had taken some toys, old pictures and you had even found a Oaxaca. It was in condition and it was very pretty.

When you taken the stuff back to the kids, it was Tuk who really liked the Oaxaca, it was black but had very vibrate colors. She had tried it on, it surprisingly fit her. You had let her keep it. You continued to show them the others things, such as the photographs that were from your family. The boys were mainly curious on the toys, since they were slightly similar to the ones that they grew up with.

As you showed Tsireya and Kiri the pictures, you told them about what year they were from and other questions they had. Tsireya was curious if they had any kind of dances and any more kind of clothing. You told them about the Huipil, the china poblana and you had brought up the Oaxaca again. As for the dances, you told her about the Jarabe Tapatío, Concheros, Matachines and Jarana yucateca.

For more information, you had showed them videos of the various dances. They were very interested. The movements from the dancers were very cool to seen, a lot what happening on the video. Not only that, but what they wore, caught their attentions by the colors and how the clothing matches the dancing. This reminded them of their kinds of celebrations and dances when it came to the clans. They too wear attire that fits the dances.

They wanted to try and do those dances. You wanted to try them too. So you all to try and dance, it was hard at first since you didn't have a dance instructor, you had to watch videos in attempt to learn. You and the kids would spend hours watching the videos, trying to study the moves and how to imatate them. Afterwards you'd all be at the beach trying to do those same dance moves, you didn't have the attire that they wore, so you used what you had and even tried remaking the clothing that the dancers wore.

Tsireya was a quick leaner, she already knew how to dance, so it was easy for her to get a hang of the dance. Even though Neteyam wasn't much a dancer, he too learned quickly. Meanwhile Kiri had decided to do her own thing same with Rotxo and Tuk who also decided to do their thing. Both Ao'nung and Lo'ak are tying to one up each other, they weren't dancers, but they still attempted to compete between the two of them

[poetrybypoc]

When I think of America, my body aches / for something more protective than skin.

- from "Oh Say Can You See" by Viktoria Valenzuela

[clonerightsagenda]

Crossing the streams of Podcast Girls Week and BIPOCtober to shout out some female characters of color from BIPOC-led audio dramas who I particularly enjoy:

Evelyn Wai from Hi Nay: Livestreaming college student turned paranormal researcher. She's great and I wish her well in whatever her career trajectory ends up being. Plus she's canonically aspec which I found out after I already planned to claim her for my aspec quota, which goes to show that when I turn my aspec beam on characters I am never wrong. (Ignore all the times I have been textually wrong.)

Jane Gonzalez from The Pasithea Powder: Presumably Chicana like her VA and podcast co-creator; all the Cassandran and Medean characters seem to live in a heavily Hispanic-influenced culture. (Take that, generically white Western spacefutures.) Support #women of color in STEM committing malpractice. I love her so much.

Nova NoStar from InCo: A crotchety information seller who rescues a prince from a fairy tale planet and ends up overthrowing a kingdom while on leave for personal reasons. Having made extensive study of hygiene in spaceflight, I would like to give a special shoutout to the wash day minisode. She and Lovelace should swap spaceship natural hair care tips.

Marisol Montgomery from Small Victories. Marisol is an excellent chef fighting a back and forth battle with addiction after the loss of her beloved brother. She makes a lot of bad decisions, but the show's excellent writing puts you in her head so you understand why she does everything she does. I'm rooting for her!

[hahaifolded]

Folded's Page Guide

Hello hello, y'all can refer to me as Folded if needed (I refuse to share any part of my name because if anyone I actually know ever finds out about this page, I will explode). I'm currently trying to start the next chapter of my life and using Tumblr as a way to unwind and relax.

- 23 - Chicana 🇲🇽 - She/Her/Ella - Aquarius ♒️- Sé español pero de verdad no me animo escribir en el pero a ver un día - This is an 18+ space 🔞, Minors/Ageless Blogs will be ✨blocked✨ - I don't do tag lists just cause ✨I'm lazy✨ - My inbox is open so feel free to ask/suggest/rant in it. It is not set up for anons just because if you want to say anything, say it with your chest. - I am going to write about anything and everything that I'm interested in when I can/want to - Honestly always been a lurker in fandoms but I'm trying to be more social so don't be afraid to say hey!

One Piece - The Siren, The Cook, and the Sister - Sanji x PirateHunter!Fem Reader (Completed, 18/18) Jujutsu Kaisen - Can We Make This Work - Nanami Kento x POC!Fem Reader x Gojo Satoru (Ongoing, 8/??) Call of Duty - Pay Back - John Price x POC!Fem Reader (One-shot, 4.7k words) - Close Friends - Kyle "Gaz" Garrick x POC!Fem Reader (One-shot, 4k words) - Al Pastor and Allies 141 x Mexican!Fem Reader (HHM Celebration, 1.6k words) - Good... Really? Simon "Ghost" Riley x POC!GN Reader (Drabble, 880 words) - If I Can't, No One Can - 141 x POC!GN Intelligence Operative (Multiple drabbles, In Progress)

Dividers by @cafeitskune

[themodernchicanareview]

Who is Gloria Anzaldúa?: A review of a Revolutionary Women

This is a somewhat academic research essay about Gloria Anzaldúa and her impact on the queer Chicana Identity. If you are unfamiliar with her work and you are a queer Chicana, it's like waking up. A professor once told me that reading Anzaldúa for the first time is like taking the Red pill. It's confronting a part of yourself that society has conditioned you to quiet. If this something doesn't fully resonate with you, that's okay. Read and learn from someone with a different perspective anyway. As Chicano Studies will stress, Connection is fundamental to growth and healing. I am always open to critique and edits. Feel free to DM me with questions/concerns/or even edits. My goal is to build a connection with those within this space!

The day I was assigned Borderlands/La Frontera by Gloria Anzaldúa was my first encounter with the true nature of my cultural heritage. It was my first year at Texas State, 558 miles from El Paso, Texas, the borderland I called home. At that time, my goal was to go to law school, work as an attorney, maybe run for office, and eventually become a Judge; I was to be the Perfect Mexican Daughter. Borderlands was a transformative read. It was the story of the border, my home, and my life. Anzaldúa writes, “1,950-mile-long open wound dividing a pueblo, a culture, running down my body, staking fence rods in my flesh, splits me, splits me, me raja, me raja.” [1]Living on the U.S.-Mexico Border, being Mexican, you grew up with a tear in your soul, the likes of which you were conditioned to ignore. Subsequently, this societal-imposed ignorance breeds resentment, anger, and conformity. It is the pressure to assimilate. It's important to understand that the goal of assimilation is to distance yourself from yourself. This distance, for me at least, was painful.

Reading Anzaldúa for the first time made me realize I had a choice. For me and so many, Anzaldúa served as the bridge between assimilation and decolonization. Meaning she presented a world in which my pain could be transfigured into the reclamation of my identity. Through her philosophical and historical narrative, Anzaldúa gave us a path to reconnecting. Reading Borderlands and discovering my Chicana/Latina and Indigenous roots put me on the path to reconnection; it made the grip that assimilation once had on me gradually loosen. I could breathe, write, and create and connect with my identity. Therefore, this essay aims to provide a context of the historical and social importance of the revolutionary work of Gloria Anzaldúa's work.

Seeing that Anzaldúa primarily writes about the effects of a political border like the US-Mexico border on culture, I believe it is important to understand the historical context of border relations between the United States and Mexico when Anzaldúa was writing. Anzaldúa published most of her works between 1981 and 1996, while her last work would be published after she died in 2015. Therefore, I will primarily focus on the border relations between the U.S. and Mexico in the 80s and 90s. Historian Douglas Massey points out, “Although the Mexico-U.S. border has long been deployed as a symbolic line of defense against foreign threats, its prominence in the American imagination has ebbed and flowed over time. Over the past several decades, however, the political and emotional importance of the border as a symbolic battle line has risen.” [2]Massey points out that the idea of a US-Mexico border as a physical and metaphysical construct that divides is a fairly recent concept. In the 19th and early 20th centuries, U.S., Texas, and Mexico relations were inconsistent fluctuations, leading to an ever-changing physical border. Massey writes, “In theory, the Mexico-U.S. border first came into existence with Mexico's achievement of independence from Spain in 1821, although very quickly the border was blurred by the entry of U.S. settlers into northern Mexico from southern and border states in the United States.” (161) Which leads us into the 20th century. Where the border is now effectively militarized, and there are increasingly anti-immigration sentiments that have been pervasive throughout history and perpetuated through the militarization of the physical US-Mexico border. “A systematic coding of weekly U.S. news magazine covers dealing with immigration from 1970 to 2000 found that negatively framed covers increased markedly in frequency through the 1970s, 1980s, and 1990s. Migration from south of the border was increasingly referred to as a "crisis" and was labeled either a "flood" that would "inundate" the United States and "drown" its society or an "invasion" of hostile "aliens" pitted against "outgunned" Border Patrol agents who sought to "hold the line" against "banzai charges" by migrants who would "overrun" American society.” [3](168) This was the tumultuous time when Anzaldúa became prominent in her academic career. It was important to her that within her works, she addressed the systematic failings that caused this racist climate. In Borderlands/La Frontera, Anzaldúa says: “Those who make it past the checking points of the Border Patrol find themselves in the midst of 150 years of racism in Chicano barrios in the Southwest and in big northern cities (37).” Within the context of the time, simply acknowledging the tyrannical effects of the physical US-Mexican border revolutionized the way Chicanos interacted with border ideology. By highlighting this systemic racism within the physical and metaphysical U.S.- Mexico border, Anzaldúa highlighted the pain that Mexicans Chicanos felt living with the hostility that came from being a borderland person. 

Moreover, within the historical context of the 80s and 90s, Anzaldúa faced a great challenge when it came to her queer identity. Within Borderlands, not only does A write about the struggles of a border identity, but she also writes about the struggles of queerness and gender and how that itself is an intersectional identity worth exploring and worth value. It’s important to note that historically being Chicana with a voice, and also being queer was still extremely taboo. “Gay and lesbian lifestyles are taboo, and Chicano culture and are harshly castigated. To violate this fundamental moral standard is to invite ostracism, violence or both.” [4]The inclusion of her queer identity as a form of intersectionality, a form of a borderland, was revolutionary for the time. Not only was she talking about queer identity and gender during a time when it was dangerous, but she used her lesbian identity as a form of intersectionality to demonstrate aspects of her philosophy. “She says that as a queer, she has no culture yet at the same time she has so much. Thus she inhabits Sandoval’s idea of a new kind of social movement that is “differential.” She revolutionized how we view queerness and gender regarding identity, and including this aspect of her identity exemplifies bravery and a revolutionary mindset.  Within her work, Borderlands, Anzaldúa outlines the concept of cultural tyranny. Aspects within Latino and Chicano culture that aim to exclude. Within this aspect of her book, she directly addresses the systemic issue of machismo culture. The same machismo culture that when she dares to speak her mind and her truths, they call her a “traitor,” a “sellout. ”She writes: “Not me sold out my people, but they me.” [5]. Not only does she defy cultural expectations, but she’s unafraid to critique the culture and its exclusionary aspects as well.

Given the historical context, Anzaldúa was a revolutionary woman with revolutionary ideas. As a queer Chicana, she shook the modern landscape of Chicana identity by pulling to the forefront the Chicano consciousness of the true narrative of borderland people and by validating and empowering the identity of those that live and in-between those that live in a borderland. She countered racist ideology with a counter-narrative and a call to action for those who live in borderlands for those who live in a borderland to deassimilate to choose to reengage with the intersectionality of their identities. I think Anzaldúa legacy can best be summed up In this quote from Revolutionary women of Texas and Mexico: “In our work, we use exploration leading to cultural identity as a way of seeing self and others, and the basis for this is Anzaldúas framework. Exploration starts us on the road not only to understanding others and their identities but also to looking within to expand our perspectives in articulating our own cultural identity.” [6]

[1] Gloria Anzaldúa, Borderlands La Frontera , 4th ed. (San Francisco, California : aunt lute books, 2007).

[2] Douglas Massey, “The Mexico-U.S. Border in the American Imagination,” Proceedings of the American Philosophical Society 160, no. 2 (June 2016): 160–77, https://www.jstor.org/stable/26159208, 161.

[3] Douglas Massey, “The Mexico-U.S. Border in the American Imagination,” Proceedings of the American Philosophical Society 160, no. 2 (June 2016): 160–77, https://www.jstor.org/stable/26159208, 168.

[4] María Herrera-Sobek, “Gloria Anzaldúa: Place, Race, Language, and Sexuality in the Magic Valley,” PMLA/Publications of the Modern Language Association of America 121, no. 1 (January 2006): 266–71, https://doi.org/10.1632/003081206x129800, 270.

[5] Gloria Anzaldúa, Borderlands La Frontera , 4th ed. (San Francisco, California : aunt lute books, 2007), 47.

[6] 1. Kathy Sosa et al., Revolutionary Women of Texas and Mexico: Portraits of Soldaderas, Saints, and Subversives (San Antonio, TX: Maverick Books, Trinity University Press, 2020), 202.

[fepearl19]

Today I lay to rest the child that wasn’t ready to be fatherless and confused forever.

I lay to rest the teenager with the sore throat from screaming at God during all of her quiet moments.

I lay to rest with them:

The expectations they both had for me. And that of my mothers. And that of my fathers. And of both my countries hold on my self worth.

I present myself in one piece despite thinking I’d never have the honor to bring them all peace.

A.F.L 7/2/23

[cloudlatte]

untitled poem 002

𝘮.𝘬.𝘴 / 𝘴𝘵𝘢𝘳𝘳𝘺-𝘮𝘪𝘭𝘬-𝘵𝘦𝘢 𝘯𝘰𝘷𝘦𝘮𝘣𝘦𝘳 14, 2023