This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.Cherríe Moraga is the co-editor of the classic feminist anthology This Bridge Called My Back and the author of The Last Generation. She is Artist-in-Residence at Stanford University.

    With genuine caring and concern for her boys, Franny looks after the gay men of Provincetown with the ultimate goal of making a place in the world for those who don't belong and making the world better for all.

    

    

    Her dislike of Yalies and all they represent at first extends to beautiful, self-possessed Victoria Locke. Then they fall in love and both their worlds change forever. Toothpick House is their story, but it is also the story of the women's movement, the changes it brings to traditional lesbian lives, and the ways in which it affected all young women of the 1970s.

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    Duncan functioned as shaman of an emerging aesthetic grounded in magic, polytheism, and sexual freedom, a role that he cultivated in weekly Berkeley literary salons. For his biographer, Ekbert Faas, the mystic-poet Duncan was a harbinger of the coming cultural revolution, the iconic "guru" figure who, in the late 1940s, pried opened the door to the late 1960s.