TY - JOUR
T1 - Afro-Latina Disidentification and Bridging
T2 - Lourdes Casal's Critical Race Theory
AU - Lomas, Laura
N1 - Funding Information:
I wish to thank the Rutgers Research Council, the Institute for Latino Resesarch at the University of Texas at Austin, and the British Academy for supporting archival research toward the book-length project of which this essay is a small part. Special thanks to Enmanuel Martínez for encouraging me to pursue this connection between Casal and Fanon; to Ricardo Luis Hernández Otero for gen-erously sharing his intimate knowledge of Casal’s bibliography, and pointing me to the college yearbooks of La Villanueva at the Biblioteca Nacional de Cuba José Martí in Havana. I appreciate the anonymous reviewers at Meridians and Robyn Spencer, Yolanda Martínez San Miguel, and Kevin Meehan for indispensable feedback on earlier drafts of this essay. I also wish to thank Rubén Dávila, Marta Zabina Dávila-Lomas, and Amaru Dávila-Lomas for permitting me to engage in archival research away from home.
Publisher Copyright:
© 2022 Public Finance Quarterly . All rights reserved.
PY - 2022/4/1
Y1 - 2022/4/1
N2 - The exiled Cuban poet, editor, and feminist Lourdes Casal breaks with social scientific convention and identifies in the first person with "Hispanic Blackness," feminism, and Cuba in her essays about race and revolution. Her bridging of identity categories informs Casal's self-definition as a "radicalized" social scientist who sheds light on academic feminism's blindspots and who applauds the revolutionary recognition of Cuban culture as "Latin-African." Casal forges decolonial tools for dismantling the master's house by adapting feminist rhetorical strategies of self-inscription that make palpable the entrenched effects of anti-Black violence. Casal's scholarship practices what queer Cuban philosopher José Muñoz calls "disidentification." Against a tradition that dismisses women as monsters, she reformats Cuban and Black thought by assuming the role of Shakespeare and Fernández Retamar's Caliban. This essay invites the reader to remember Casal's 1970s essays as foundationally intersectional, decolonial, antiracist, and feminist.
AB - The exiled Cuban poet, editor, and feminist Lourdes Casal breaks with social scientific convention and identifies in the first person with "Hispanic Blackness," feminism, and Cuba in her essays about race and revolution. Her bridging of identity categories informs Casal's self-definition as a "radicalized" social scientist who sheds light on academic feminism's blindspots and who applauds the revolutionary recognition of Cuban culture as "Latin-African." Casal forges decolonial tools for dismantling the master's house by adapting feminist rhetorical strategies of self-inscription that make palpable the entrenched effects of anti-Black violence. Casal's scholarship practices what queer Cuban philosopher José Muñoz calls "disidentification." Against a tradition that dismisses women as monsters, she reformats Cuban and Black thought by assuming the role of Shakespeare and Fernández Retamar's Caliban. This essay invites the reader to remember Casal's 1970s essays as foundationally intersectional, decolonial, antiracist, and feminist.
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U2 - 10.1215/15366936-9554101
DO - 10.1215/15366936-9554101
M3 - Article
AN - SCOPUS:85135237771
SN - 1536-6936
VL - 21
SP - 123
EP - 154
JO - Meridians
JF - Meridians
IS - 1
ER -