375 Sylvia Ledesma’s poem “Struggling for Freedom” exemplifi es this notion: “the day before yesterday,” she writes, “I heard the cry of the Indian / yesterday it was the cry of the Mexican / now it is you, my brother.” In response to such cries, she sings “of the suff ering,” and through such singing, she concludes, “the sadness leaves my heart” (405). Ledesma’s inclusive song does not just coexist with suff ering; it provides an alternative that survives it through shared bonds. Although poetry and prose comprise much of the work, the visual art is a welcome component. Carmen Lomas Garza’s paintings of female healers invoke traditional knowledge that does not rely on Western medicine. Meanwhile, Kathy Vargas’s collage of photos and narratives of a Tejano family from the My Alamo Series pairs nicely with Guerrero Milligan’s short story “La Mentira, or How I Got through Texas History” for their attention to challenging the Alamo’s historical narrative. In the introduction to Entre Guadalupe y Malinche, HernándezÁvila remarks that the idea for this book was fi rst born during the Chicana movement in the 1970s (6). Th ough it took several decades to come to fruition, the anthology’s timeliness provides invaluable insight into modern Tejana identity in all its complexities and intersections. As homogeneity increases through processes such as globalization, Entre Guadalupe y Malinche is a reminder of the relevance of regional particularism and how writers and artists respond to notions of place and land through constructions of imagination, memory, and community. Daniel Arbino Tulane University

中文翻译：

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仰望的天空：琳达·勒加德·格罗弗 (Linda LeGarde Grover) 生活的奥吉布韦诗歌

375 西尔维娅·莱德斯玛 (Sylvia Ledesma) 的诗《为自由而奋斗》体现了这一概念：“前天，”她写道，“我听到了印度人的哭声/昨天是墨西哥人的哭声/现在是你，我的兄弟。 ” 为了回应这样的呼喊，她唱起了“痛苦”，通过这样的歌声，她总结道，“悲伤离开了我的心”（405）。莱德斯马的包容性歌曲不仅与苦难共存；它提供了一种通过共享纽带生存下来的替代方案。虽然诗歌和散文构成了大部分作品，但视觉艺术是一个受欢迎的组成部分。Carmen Lomas Garza 的女性治疗师画作引用了不依赖西医的传统知识。同时，凯西·巴尔加斯 (Kathy Vargas) 的《我的阿拉莫》系列中 Tejano 家族的照片和叙述的拼贴画与格雷罗·米利根的短篇小说“La Mentira，或我如何穿越德克萨斯历史”完美搭配，因为他们关注挑战阿拉莫的历史叙述。在 Entre Guadalupe y Malinche 的介绍中，HernándezÁvila 评论说，这本书的想法最初是在 1970 年代的奇卡纳运动期间诞生的 (6)。尽管花了几十年的时间才取得成果，但该选集的及时性为了解现代 Tejana 身份的所有复杂性和交叉点提供了宝贵的见解。随着全球化等过程的同质性增加，Entre Guadalupe y Malinche 提醒人们注意区域特殊主义的相关性，以及作家和艺术家如何通过想象的构建来回应地方和土地的概念，记忆, 社区. 丹尼尔阿比诺杜兰大学