Papers by Veronica Sandoval
Latina Outsiders Remaking Latina Identity, 2019
Playing Chola: The Discourse of Subjects and Subject-Selves, or the "You Can’t Spell Scholar with... more Playing Chola: The Discourse of Subjects and Subject-Selves, or the "You Can’t Spell Scholar without Chola" Paper._______When members of the grassroots Chola Pinup organization objected to the use of their creative material, specifically the use of “You can’t spell scholar without chola and sCHOLAr,” in reference to an academic scholar and featured comic book artist on Latina.Com; they found their concerns met with classist commentary and dismissed by Latina.com readers. Where the Pachuca of the 1940s was reprimanded for claiming the public space of the street, the Chola as predecessor of La Pachuca, in this particular situation, was chastised for transgressing the street and interjecting herself in the privileged space of online visible discourse. When commenting on a mainstream Latina publication, like Latina.Com, a chola is seen as outside the epistemic privilege sphere of barrio, and is instead entering the public arena of Latinidad discourse. This discursive space is privileged because of the visibility offered to it through the large circulation of readership in the more marketable form of monolithic ethnicity that is Latinada, vs the overtly political, raced, and classed embodiment of non-conforming ethnicity such as Chicana and Chola._______As academics who produce knowledge on cultural subjects in our communities, this paper also asks that we consider how we, as subject-selves write about subjects from within academia, specifically when the subject is connected to our own identity. What becomes the subject-selves’ responsibility to the subject when claiming and defining community practices in mainstream forums like Latina.com, which tends to validate the voice of the subject-self over the subject?
NewBorder: Contemporary Voices from the Texas/Mexico Border, 2014
My Poem: “How to be La Llorona for the City of Sullivan that has no Sidewalks," (For Domino Renee... more My Poem: “How to be La Llorona for the City of Sullivan that has no Sidewalks," (For Domino Renee Perez). Published in the 2014 New Border: Contemporary Voices from the Texas/Mexico Border, Texas A&M University Press, College Station, TX
Edited by Brandon D. Shuler, Robert Johnson and Erika-Garza Johnson
Along the River: An Anthology of Voices from the Rio Grande Valley, 2011
3 of my published poems in Along the River: An Anthology of Voices from the Rio Grande Valley, Pu... more 3 of my published poems in Along the River: An Anthology of Voices from the Rio Grande Valley, Published by VAO Publishing 2011. Edited by David Bowles.
"W-E, the River,"
"Mexico Who," &
"No, Trovador."
Houston Poety Fest: 2010 Anthology, 2010
My Poem "Be it if I Could" Edited Version. Published in the 25th Anniversary, Houston Poetry Fest... more My Poem "Be it if I Could" Edited Version. Published in the 25th Anniversary, Houston Poetry Fest 2010 Anthology
El Mundo Zurdo 3: Selected Works from the 2012 Meeting of the Society for the Study of Gloria Anzaldúa, 2013
3 of my published poems in El Mundo Zurdo 3, Aunt Lute Press, San Francisco, California.
“After... more 3 of my published poems in El Mundo Zurdo 3, Aunt Lute Press, San Francisco, California.
“After Cervicide: Postcard to La Gloria, April 6, 2012,”
“Palming Limestone: Postcard to La Gloria, April 20, 2012” &
“I will be your bridge: A Literary Reflection (For Gloria Anzaldúa and AnaLouise Keating: The Gloria Anzaldúa Reader)
Edited by Larissa Mercado-López, Sonia Saldívar-Hull and Antonia Castañeda.
Blood Orange Review, 2018
Poetry published in the Blood Orange Review Issue 10.2 at Washington State University. Publicatio... more Poetry published in the Blood Orange Review Issue 10.2 at Washington State University. Publication includes link to a reading of There are Cholas.
El Mundo Zurdo 6: Selected Works from the 2016 Meeting of the Society For the Study of Gloria Anzaldúa, 2018
El Munduo Zurdo 6, Edited by Sara A. Ramírez, Larissa M. Mercado-López, and Sonia Saldívar-Hull
... more El Munduo Zurdo 6, Edited by Sara A. Ramírez, Larissa M. Mercado-López, and Sonia Saldívar-Hull
Gloria Anzaldúa asserts, “Border art is an art that supersedes the pictorial. It depicts both the soul of the artist and the soul of the Pueblo. It deals with who tells the stories and what stories and histories are told” (“Border Arte” 62). Anzaldúa calls this form of visual narrative “autohistoria,” a form that goes beyond the traditional self-portrait or autobiography to tell the artist’s personal story and includes their cultural history (62). By analyzing the work of nepantleros and nepantleras currently living, working, and creating in the borderlands, I highlight Anzaldúa’s theory in praxis, where artists live in “the locus of resistance, of rupture, of implosion and explosion,” where through their work, borderland artists “[put] together fragments and [create new assemblages]” of the realties they live in (49). At the center of this essay is borderland nepantlera Celeste De Luna, whose haunting images of anchor babies, detention centers, check points, and Aztec deities speak directly to Anzaldúa’s nepantla theory as a threshold of transformation. The border as a “historical and metaphorical site” is an occupied site where border artists strive to decolonize space through their art (63), and thus, De Luna’s work is a prime example of the ways in which nepantleras decolonize narratives, stirring political consciousness. Through her recognition of the systems at play that change the trajectory of her work and her family’s life, De Luna’s work is an autohistoria that demonstrates a refusal to remain silent about a shifting social political landscape that implicates all of those living in and trapped within the borderlands.
La Chismosa Issue 1, 2016
As a managing editor La Chismosa, I helped to produced this publication through the contributions... more As a managing editor La Chismosa, I helped to produced this publication through the contributions of the women of Chola Pinup. La Chismosa is a magazine meant to highlight the work of the women of OG Chola Pinup now Chola Vida. In it you learn about chola political praxis and are introduced to the cholas of CP. They are working class women, mothers, academics, teachers, artist, photographers, chefs, entrepreneurs, Phd's, sCHOLArs, activist, and so much more.
La Chismosa, 2017
As a managing editor La Chismosa, I helped to produced this publication through the contributions... more As a managing editor La Chismosa, I helped to produced this publication through the contributions of the women of Chola Pinup. La Chismosa is a magazine meant to highlight the work of the women of OG Chola Pinup now Chola Vida. In it you learn about chola political praxis and are introduced to the cholas of CP. They are working class women, mothers, academics, teachers, artist, photographers, chefs, entrepreneurs, Phd's, sCHOLArs, activist, and so much more.
Book Reviews by Veronica Sandoval
Sueño: New Poems
Unpublished Book Review entitled "Con mucha gracia Chicana Feminist Praxis in Lorna Dee Cervantes... more Unpublished Book Review entitled "Con mucha gracia Chicana Feminist Praxis in Lorna Dee Cervantes Sueño"
When swept up in the cyclone of a dream, you will push past "Coyote trees," past the "thrilling of crickets educating into the night," past "lost loves and beaten paths poured into rivers of rain" (86, 27, 8). These are poetic dreamscapes melted into a universe of brilliance, strands of stanzas drenched in the fragmentations of memory. Sueño, by Lorna Dee Cervantes is a masterful collection of poems that permeates, a seduction of stanzas that devour. Although Cervantes separates her collection into five sections with the subheadings of "Thirty-something of the Cruelest" and "A Bit of Grace" or "una poca de gracia," her work is not linear or traditionally grouped in simplified sections. It is cyclical and repeating, bleeding through pages, and pulling the reader from the comfortable spaces of the analytical. In this collection you will find love, pain, history, sensuousness, loss, mother, grandmother, father, past and passed loves, rivers and rivers twice, trees birthed and on spines, children, cholas, cholos, Colorado splendor, lowriders, Mayans and braiding. Cervantes is always braiding, a familiar caressing image that
Cervantes gifts her readers, following us from her collection Emplumada, a braiding which has endeared me to her work.
Book Review of the In/Making of Latina/o Citizenship: Culture, Politics and Aesthetics. Edited by... more Book Review of the In/Making of Latina/o Citizenship: Culture, Politics and Aesthetics. Edited by Ellie D. Hernández and Eliza Rodriguez y Gibson (New York: Palgrave MaCMillan, 2014).
My Book Review for Erika Garza- Johnson's poetry collection entitled Unwoven.
Conference Presentations by Veronica Sandoval
PNW Foco Regional Conference , 2024
As a Co-Rep for the National Association for Chicana and Chicano Studies, Pacific Northwest Foco,... more As a Co-Rep for the National Association for Chicana and Chicano Studies, Pacific Northwest Foco, I helped to design and compile the program for our PNW Foco Conference that will be held on Saturday, November 9th, at Yakima Valley College in Yakima, Washington. The last regional conference in the Pacific Northwest was in 2017 at Eastern Washington University in Cheney, WA. Co-Rep L Heidenreich and the PNW Foco conference planning committee members are excited about welcoming students, community members, scholars, activists, artists, and more to this free conference.
2024 La Chola Conference Program, 2024
This is the program for the 2024 La Chola Conference. Program Design and Compilation By Dra. Vero... more This is the program for the 2024 La Chola Conference. Program Design and Compilation By Dra. Veronica Sandoval and Serina Payan Hazelwood (Members of the Homegirl Association and the 2024 La Chola Conference Planning Committee) Updated 10/2/2024 with the final conference edits.
La Chola Conference 3 Program, 2023
This is the program for the 2023 La Chola Conference happening at Yakima Valley College in Yakima... more This is the program for the 2023 La Chola Conference happening at Yakima Valley College in Yakima, Washington on October 13 - October 15. Program compellation and layout by Dr. Veronica Sandoval, Portland Community College and Dr. Gabriela Raquel Rìos, University of Colorado Boulder
La Chola Conference Program, 2022
As a member of the planning committee of the La Chola Conference... This is the conference Progra... more As a member of the planning committee of the La Chola Conference... This is the conference Program for the 2022 La Chola Conference entitled "High Visibility Hynas: La Chola in Pop Culture." The conference was held October 21 - 23, 2022 at the University of Colorado, Boulder.
Program design by Dr. Gabriela Rios at the University of Colorado Boulder. Conference organized by The Homegirl Association of Chola Vida.
The Conference Program I designed for the First Annual La Chola Conference sCHOLAr: The Study and... more The Conference Program I designed for the First Annual La Chola Conference sCHOLAr: The Study and Work of Homegirls Online Virtual Presentation Brought to you by The IxChel Scholarship Foundation Chola Vida, OG Chola Pinup 2021 #LACHOLACONFERENCE #LACHOLACON2021
The First Annual La Chola Conference
sCHOLAr: The Study and Work of Homegirls
Online Virtual Pres... more The First Annual La Chola Conference
sCHOLAr: The Study and Work of Homegirls
Online Virtual Presentation
Brought to you by The IxChel Scholarship Foundation
Chola Vida, OG Chola Pinup
2021
#LACHOLACONFERENCE #LACHOLACON2021
For registration log on to: http://cholacon.ogcholavida.com/
Uploads
Papers by Veronica Sandoval
Edited by Brandon D. Shuler, Robert Johnson and Erika-Garza Johnson
"W-E, the River,"
"Mexico Who," &
"No, Trovador."
“After Cervicide: Postcard to La Gloria, April 6, 2012,”
“Palming Limestone: Postcard to La Gloria, April 20, 2012” &
“I will be your bridge: A Literary Reflection (For Gloria Anzaldúa and AnaLouise Keating: The Gloria Anzaldúa Reader)
Edited by Larissa Mercado-López, Sonia Saldívar-Hull and Antonia Castañeda.
Gloria Anzaldúa asserts, “Border art is an art that supersedes the pictorial. It depicts both the soul of the artist and the soul of the Pueblo. It deals with who tells the stories and what stories and histories are told” (“Border Arte” 62). Anzaldúa calls this form of visual narrative “autohistoria,” a form that goes beyond the traditional self-portrait or autobiography to tell the artist’s personal story and includes their cultural history (62). By analyzing the work of nepantleros and nepantleras currently living, working, and creating in the borderlands, I highlight Anzaldúa’s theory in praxis, where artists live in “the locus of resistance, of rupture, of implosion and explosion,” where through their work, borderland artists “[put] together fragments and [create new assemblages]” of the realties they live in (49). At the center of this essay is borderland nepantlera Celeste De Luna, whose haunting images of anchor babies, detention centers, check points, and Aztec deities speak directly to Anzaldúa’s nepantla theory as a threshold of transformation. The border as a “historical and metaphorical site” is an occupied site where border artists strive to decolonize space through their art (63), and thus, De Luna’s work is a prime example of the ways in which nepantleras decolonize narratives, stirring political consciousness. Through her recognition of the systems at play that change the trajectory of her work and her family’s life, De Luna’s work is an autohistoria that demonstrates a refusal to remain silent about a shifting social political landscape that implicates all of those living in and trapped within the borderlands.
Book Reviews by Veronica Sandoval
When swept up in the cyclone of a dream, you will push past "Coyote trees," past the "thrilling of crickets educating into the night," past "lost loves and beaten paths poured into rivers of rain" (86, 27, 8). These are poetic dreamscapes melted into a universe of brilliance, strands of stanzas drenched in the fragmentations of memory. Sueño, by Lorna Dee Cervantes is a masterful collection of poems that permeates, a seduction of stanzas that devour. Although Cervantes separates her collection into five sections with the subheadings of "Thirty-something of the Cruelest" and "A Bit of Grace" or "una poca de gracia," her work is not linear or traditionally grouped in simplified sections. It is cyclical and repeating, bleeding through pages, and pulling the reader from the comfortable spaces of the analytical. In this collection you will find love, pain, history, sensuousness, loss, mother, grandmother, father, past and passed loves, rivers and rivers twice, trees birthed and on spines, children, cholas, cholos, Colorado splendor, lowriders, Mayans and braiding. Cervantes is always braiding, a familiar caressing image that
Cervantes gifts her readers, following us from her collection Emplumada, a braiding which has endeared me to her work.
Conference Presentations by Veronica Sandoval
Program design by Dr. Gabriela Rios at the University of Colorado Boulder. Conference organized by The Homegirl Association of Chola Vida.
sCHOLAr: The Study and Work of Homegirls
Online Virtual Presentation
Brought to you by The IxChel Scholarship Foundation
Chola Vida, OG Chola Pinup
2021
#LACHOLACONFERENCE #LACHOLACON2021
For registration log on to: http://cholacon.ogcholavida.com/