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Apr. 5th, 2006 | 01:05 pm
posted by: legacy_tycho in representingid

Similarly, Cherrie Moraga deploys liminal images that are embodied. In “Loving in the War Years,” she writes,
Without a home to call our own
I've got to take you as you come
to me, each time like a stranger
all over again.
Loving you is like living / in the war years,” if any thing, "lesbian existence" is even more charged with the potential for danger in Moraga's conception, than it is for Lorde. This sense is almost palatable when she indicates “Not knowing / what deaths you saw today / I’ve got to take you / as you come, battle bruised.” Lesbian desire, puts women in uncertain 'ways of living' which create danger. In the face of this peril, Moraga is not without hope: “loving in the war years […] where being queer / and female / is as warrior / as we can get.” Though painful, and dangerous, there is a potential for strength that Moraga captures. Moraga's work is often closely associated with that of Gloria Anzaldua—they co-edited the pivotal 1981 volume this bridge called my back: writings of radical women of color. Four years after Moraga's Loving in the War Years: lo que sus labios (1984), a mostly autobiographical meditation on race, sexuality, family and identity, was published Anzaldua elaborates her own personal experience into a theory of identity, language,

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