Braschi

Week 11: Yo-Yo Boing and the Art of Spanglish

Reading Yo-Yo Boing! by Giannina Braschi was a unique and thought-provoking experience for me. As someone who is semi-bilingual and interested in linguistics, translation, and multicultural literature, this book provided me with a deeper insight into the complex nature of language and culture.

One of the central themes of the book is bilingualism and the challenges of translation. The characters in the novel often switch between English and Spanish, reflecting the reality of many bilingual individuals who navigate between two or more languages on a daily basis. I really liked Jon’s visual of characters “yo-yo-ing” between tongues and cultures. Everyone I know who is bi- or multilingual experiences language like this; not in distinct, black-and-white realities, but in oscillating sounds and voices.

The text also highlighted the struggle of immigrants to maintain their cultural identity while adapting to a new linguistic and cultural environment. Braschi uses language creatively to capture the unique experiences of bilingualism and the cultural clash that occurs when different languages and cultures come together. This felt very familiar to my own lived experience, growing up in Pennsylvania and watching my family wrangle with English and the midwestern American culture. I felt particularly reminded of The Brief Wondrous Life of Oscar Wao by Dominican writer Junot Díaz while reading Braschi’s text; this book also uses a liberal patchwork of Spanglish dialogue and linguistic clashes to portray the experience of Hispanic immigrants in the US.

Moreover, the novel explores the role of translation as a tool for bridging cultural gaps. Translation is a way of preserving cultural identity and heritage, as characters try to translate cultural traditions and beliefs into a new context. Hurdling language barriers with code-switching and bilingual slang becomes an essential means of understanding each other. Linguistically, it felt like a third language was born in the expanse between English and Spanish. I thought this was beautifully executed with Braschi’s focus on a chorus of nameless dialogue; it concentrated all the focus on the poetry of spoken translation in action.

As a bilingual person, I could relate to the characters in the book and their experiences of navigating multiple languages and cultures. The book made me reflect on my own linguistic and cultural background and the challenges that come with maintaining my cultural identity while living in a different linguistic and cultural environment.

I think Yo-Yo Boing! is a powerful reflection on the complexities of language, culture, and identity. It challenges traditional ideas of code-switching and offers a fresh perspective on the immigrant experience. Braschi turns Spanglish into an art in and of itself; something that I was once very ashamed to resort to is made into something quite beautiful and singular here.

Question for discussion: Do you have any words, phrases, or discourses in mind that you feel are untranslatable? Language that can only be understood and appreciated in its original form?

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Menchú

Week 10: Rigoberta’s Resistance

I feel so grateful to carry Rigoberta Menchú’s story of resistance with me. Although the events of her life are deeply painful and tragic, it feels cheap to classify her life’s story as just that, a tragedy. Rigoberta’s story is one of incredible and unyielding resistance, in every form, from the seemingly mundane to the most compelling. This is evident immediately from the introduction by Elisabeth Burgos-Debray. She talks about Rigoberta’s cultural resistance practiced intentionally and thoughtfully even while making tortillas. “By resisting ladina culture, she is simply asserting her desire for ethnic individuality and cultural autonomy… Rigoberta’s refusal to use a mill to grind her maize is one example… a way of preserving the practices connected with preparing tortillas and therefore a way to prevent a whole social structure from collapsing” (xviii). Throughout Rigoberta’s testimonio, we see that resistance is an active practice, taken on by necessity. Her own survival becomes an act of resistance in itself as the profile of her community rises and her family is steadily taken from her.

Rigoberta’s many references to secrets also carry this practice of resistance. For Rigoberta’s community, secrets provide security of more than one kind: physical security from enemies, social and emotional security from violence, and cultural security from colonization. It is so simple yet so powerful in its defiance, as if saying, you may think you’ve conquered all of us, but you’ll never have this; this being Quiché traditions, customs, ceremonies, practices, or wisdom we can hardly imagine. Rigoberta’s final words in the text are monuments to this kind of resistance. As if she’s speaking directly to Burgos-Debray and her readers, it’s a chilling and unequivocal reminder that through everything, she retains her autonomy and narrative agency. “Nevertheless, I’m still keeping my Indian identity a secret. I’m still keeping secret what I think no one should know. Not even anthropologists or intellectuals, no matter how many books they have, can find out all our secrets” (289).

I’m especially grateful to carry Rigoberta’s story, because, upon graduating this May, my friends and I will travel to Guatemala for two weeks. We have been planning this trip for over a year, committed to doing months of research to make ourselves aware of the cultural context we’ll be guests of. In this, I’ve learned an incredible amount about the Indigenous communities of Guatemala, which represent more of the population than non-Indigenous Guatemalans. As travelers, it’s paramount to make ourselves sensitive to the cultures we are passing through and resist treating local customs as circus spectacles when we encounter them. I’m glad I will be able to carry Rigoberta’s voice with me as I enter her home and remind myself of my responsibility to her memory and survival. Decolonization and resistance is a daily practice we must all undertake no matter where we find ourselves.

Question for discussion: Do you think Rigoberta Menchú and Elisabeth Burgos-Debray were as close as the introduction would lead us to believe? Rigoberta’s final words make us question what we’ve just read and how much we’ve been trusted to hear; it reveals that Rigoberta is much more aware and intentional about her narrative agency than Burgos-Debray may have implied.

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