civilization maintained that communication with the Divine Deities could be attained through the power of "metaphor and symbol, by means of poetry and truth." The two colors' continual emergence, disappearance and re-emergence anew again indicated a "thick-here, thick-there" pattern that suggested weaving motions. 7 The interwoven variations in styles and genres are typical for the writing technique Anzaldúa has taken up in Borderlands and it is analogous to the weaving pattern of emergence/disappearance approached above. Anzaldúa thus explicitly manifests her affinity to the written heritage of her distant Aztec ancestry. Despite this historical connotation, her text and the style in which it is composed differ radically in its purpose from the old-time indigenous codices. Besides abrupt transitions from lecture-like essays on history and/or anthropology as well as aesthetics and sociology, sections written in prose are interlaced with poetry which crops up suddenly, as if unexpectedly. Yet, Anzaldúa argues, poetry's capacity for delivering meanings equals that of 'high theory'-what she calls established academic practices. Anzaldúa's masterpiece does truly transcend existing theoretical rules of text composition as well as challenges the literary canon of the Anglo-American academy. Borderlands ' aim is to enunciate the writer's struggle for her (and Chicano people's) cultural legacy and, at the same time, demonstrate her endeavor to "change composition, the way people write...because life is a permanent resistance against the status quo, the political climate, and against the academic standards of the different disciplines." 8
Why does the authoress refuse to obey given academic doctrines and why does she insist on shaping a theory of her own? First, the entire concept of Mestiza consciousness illustrates the fluidity of the self that is founded on self-invented values and laws. The book, therefore, reflects this independence- oriented Mestiza philosophy and 'behaves' accordingly. In other words, the writing style embodies a mirror image of the unbridled, limit-free Mestiza consciousness; Borderlands is a materialization of Anzaldúa's mental construction of the personal (and collective) identity. Second, the authoress disputes Western academy-derived theory for she finds it restraining and also ignorant of her position of a marginalized writer. She contests the deletion by the dominant culture from a socially inferior standing. This position serves as an impulse that consequently provides soil for an alternative type of theory construction. Hector A. Torres argues that under an imperative of this sort "the minority writer produces a theory that is much more readable but not any less rigorous, precisely because the 'fit' between fact and theory, description and explanation, life and text is more immediate in terms of the political context in which that theory or explanation is written." 9 By contrast, the official or 'high theory' that proceeds from the educational establishment employs exclusively abstract language and focuses on objectivity. Any autobiographical details are expunged from
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