Arguments Made in Take the Tortillas Out of Your Poetry
Arguments Made In Take The Tortillas Out Of Your Poetry
Even though the cultural and veiled censorships have to do with why they won't let his book be read, he talks about why he wrote the novel, that it was a reflection of his childhood, and that censors only paid attention to one detail and that was the so-called bad words in Spanish and they used that as an excuse because the novel did not meet the criteria of the circumstances. The censors used a technique where they zoomed in on one detail of the novel and made it seem that because it was in Spanish, it had profanity in it. Rudolfo Anaya made a great point when he said that if we leave the tortillas out of our poetry meaning cultural values, then the cultural we're portraying will go unnoticed therefore leaving Anaya, his Chicano readers, and us as readers left wondering why something should be judged because it's so different from what we as his readers known all our lives.
We are in a way are told what is best with what we should read and that these censors are at work in all areas of our lives. Rudolfo Anaya says that censorship has affected him directly and how it recently affected a friend of his as well. His friend is a Chicano poet and scholar and good one. He says he has been encouraging Chicano writers to apply for literary fellowships from the National Endowment for the Arts. What happened to his friend was that he applied for the literally fellowship but was turned down twice, but he did not give up. They both knew that many of the panels that judged the manuscripts did not have readers that could read Spanish or bilingual manuscripts. His friend then went on saying to him, “You know,” he told me, “if they can't read my bilingual poetry, next time I apply I am sending them only poems I write in English. My best poetry is bilingual, it reflects our reality, it is the way we speak, the way we are. But if I stand a better chance at getting a fellowship in English, I will send that. But the poems I
Even though the cultural and veiled censorships have to do with why they won't let his book be read, he talks about why he wrote the novel, that it was a reflection of his childhood, and that censors only paid attention to one detail and that was the so-called bad words in Spanish and they used that as an excuse because the novel did not meet the criteria of the circumstances. The censors used a technique where they zoomed in on one detail of the novel and made it seem that because it was in Spanish, it had profanity in it. Rudolfo Anaya made a great point when he said that if we leave the tortillas out of our poetry meaning cultural values, then the cultural we're portraying will go unnoticed therefore leaving Anaya, his Chicano readers, and us as readers left wondering why something should be judged because it's so different from what we as his readers known all our lives.
We are in a way are told what is best with what we should read and that these censors are at work in all areas of our lives. Rudolfo Anaya says that censorship has affected him directly and how it recently affected a friend of his as well. His friend is a Chicano poet and scholar and good one. He says he has been encouraging Chicano writers to apply for literary fellowships from the National Endowment for the Arts. What happened to his friend was that he applied for the literally fellowship but was turned down twice, but he did not give up. They both knew that many of the panels that judged the manuscripts did not have readers that could read Spanish or bilingual manuscripts. His friend then went on saying to him, “You know,” he told me, “if they can't read my bilingual poetry, next time I apply I am sending them only poems I write in English. My best poetry is bilingual, it reflects our reality, it is the way we speak, the way we are. But if I stand a better chance at getting a fellowship in English, I will send that. But the poems I